As someone more focused on visuality, I really appreciate your analogy between ambient noise and film grain. That really makes the realization intuitive for me.
I've just stepped into this work and it's so assuring to know I'm roughly on the right track. Your ability to communicate is exquisite. Thank you so much for taking the time to make this.
Thank you! I am a production sound mixer and this is extremely helpful with explaining to clients how much work that may still need to go into the dialog once we hand off our files.
Matt, this was incredible. I loved that you let us shadow you and learn from your process. I'm new to post sound, so seeing how the pros do it, is really great. One question for you, when the mom opens up the oven, the door feels a bit loud. I understand that sound editing and design is very subjective, but what are your thoughts on dropping the levels a bit on that? Just wanted to get your take on that.
great video thanks. For future videos, I would suggest putting a keyboard shortcut window in the bottom corner to so we can follow your moves in PT. Thanks.
Hello Matt. I have a question that nobody has been able to answer for me. The way you edit the dialogue (DX) is something I've seen many people do, but also within the production sound, there are certain FX that you often use for the film. Obviously, you will later add foley and everything else, yet there are some FX that are within the production sound and are on your DX track because it's the Boom track. What happens when we're asked for the M&E? Will we mute the DX tracks along with these FX? Wouldn't it be better to only have all the voices on one track and the PFX on another? This way, no FX will be left hanging in our DX. Do you understand? I once did a project the way I'm suggesting, and I got scolded because they had trouble matching the DX with the ambiance... Thanks!
When I do a DX edit, I often “mix as I go”. My goal is to deliver a solid pre-mix so a lot of the technical EQing, levels and noise reduction is done is done by the time it hits the mix stage. This allows the re-recording mixer to focus on more creative choices like music and sound design. Doing what you’re doing in front of the director and whatever entourage they brought with them is difficult since, unless you’re the one doing the work, it’s kind of like watching paint dry. Also, RX is much more powerful and flexible when you send the clip to RX. I noticed you were using the “A” algorithm on Spectral Denoise. “A” is fast and “D” is best. Since you’re processing offline, why not use “D”? Denoise is only as good as the Learn. As a premix process, this looks good. There’s definitely more than one way to do this. As long as the end results sound good then you’re doing your job.
Hey, how are you? Hope you're great. When you export how do you keep the fx stems in 5.1, do the vox go through the centre and reverb, ambience through the L / R channels, including rear channels. With sound design stereo automation I imagine, it's L/R, rear channels and not included in the centre channel. Thank you for your support.
@@PureJmist I always keep the stems separate from the beginning. With each group of stems running through an Aux bus. So if I need to mute a stem, I can mute just the stem’s Aux bus and not have to mute every track in the stem. The DX also gets its own Aux. The stem auxes are 5.1 (when working in 5.1). Those stem auxes can be routed to a “master Aux” not a Master Fader and then routed to a track to print or you can bounce using the output of the master Aux as the bounce source. The DX mostly comes out the center channel unless there’s panning or multichannel loop group. I prefer to print onto a track as opposed to offline bouncing because PT sometimes chokes on offline bouncing, introducing glitchy artifacts or it doesn’t always follow the automation accurately. This seems to happen more with longer, more complex sessions. I hope that makes sense. Basically the DX is always 5.1. Most of the channels are really being used but it is 5.1. Oh, and regarding reverb etc. each stem has its own effects routed through the stem auxes. I spend a bit of time organizing the audio that comes in from the AAF or OMF when I first set up the session to make sure all the sounds are on their proper tracks and routed correctly.
Matt is the MAN! I love how helpful he is. He has personally helped me elevate my sound to the next level. Thank you so much, Matt and PSE. Also, PSE, how can I be apart of the team? I'm a podcast producer and would love to advertise your stuff to my audience.
He just hit the -write to selection- button on the preview panel, be sure to have a selection otherwise it will write to the entire track. shortcut to write... MAC Command+Option+Forward Slash ( / ) PC Ctrl+Alt+Forward Slash ( / )
Hey there! Lots of different tools for approaching denoising in different ways. I'll try to cover a bit of this in a follow up video! Thanks for asking
When you applied the blanket reverb to that group of clips did you apple the verb send to the individual clips or the tracks? Not sure if you were using the track send to the verb how it would only affect the selected clips and not the whole track. Very good video, gonna watch it some more times. I've always struggled with my gain staging initially with the clip levels, Like should I get every clip to the same nominal level relatively then use automation for VOLUME to create the dynamics or should I just do it with the clip gain.
Thanks for this! Super interesting for all levels of expertise. (even on little things like what you do with your doubles for before/after audiosuites (I playlist them). Feeling for you circa 49 mins mark when you do the command+shift+c/v for the copy the plugin parameters and the clip eq on the second region has that massive -5 dB scoop at 190Hz and I sounds super different. Also, would love to see the WNS settings particulatly how much you hit the production sound with it. What reverb plugin are we hearing hear? Also, what's the DIABOOM bus for? Thanks!
Hey there Tami, Thanks for the kind words! I'll be doing a follow up video most likely to clarify on some of things since each tutorial can only be so long - they take quite a while to put together! I'll be adding these to the questions for answer :)
I am a Congolese sound engineer (cinema), originally from the DRC Kinshasa. I have a very particular question, on "how to import AAF files into Fl studio." to prepare the session of mixing dialogues & sound effects and background music of the film... personally I don't use prools I don't know much about this software, yet I still feel comfortable with Fl studio because I know a lot of tricks on how the software (fl_studio) works, I would like to know how to import AAF (film sound timeline) sound files. Thank you very much, I am still waiting for an answer on the channel it will be beneficial for us that you follow you, and advice on this subject.
Hey, I use Ableton Live and I had the same issue when I was beginning my career in post production. My first client sent me an OMFs file and my solution was to open it in pro tools, bounce the tracks individually and import them into Live.
Check out this tutorial - Advanced Mixing Automation in Pro Tools with Brad Engleking: ru-vid.com/video/%D0%B2%D0%B8%D0%B4%D0%B5%D0%BE-nI9NYG9PqI8.html
I just binged all of this man's videos. Amazing content. I just improved so much as an audio editor. Also, anyway we can get a template of these tracks and routing ? lol
Great video and you've great way of teaching! At 9.04 when you create a safe copy - by copying the track to another track and muting them. Why not create a new playlist on the same track and copy safe the dialogue? Less tracks to show and hide. An unlimited amounts of undo's as all your audio suite renders are still on the same track within playlists. Thoughts on why / why not? FYI Jennifer Aniston is clipping when she says "This is NO-t AB-out you" - iZotope de clipper would work well.
Hey man, are you're compressors active? I'm seeing some dynamic activity on your channels but I didn't see you cover compression, unless I missed that part... if your compressors are active, are you using an initial compressor setting for all your DIA channels?
Great videos. Do you have one on how you edit dialogues structure. From compressor , eq.. and do you explain how you work on the track like do you go one scene at a time and create tracks of dialogue for every scene or just characters and you automate all plugins for each scenes?
Matt what type of headphones you rocking/do you prefer? I'm moving from a dedicated mix space to a cubicle (mixing all on cans) soon so want to get the best possible option (closed back). Currently own the DT770s. thx!
Hey Tony - I'm using open backs since I'm in my home studio. I don't normally mix in headphones unless I'm working on a binaural atmos project (usually in podcast format) but these are the Focal Clear Pro's
@@Myocum93 Yeah, not looking forward to working on cans all the time either given how great my current setup is (mixing on Focal 6's and sub). But thanks for the reply, honestly didn't know Focal had headphones too. Love your videos man. Learn so much!.
Hey, everyone, hope you're great. I have a question about mixing and exporting. When you export how do you keep the fx stems in 5.1, do the vox go through the centre and reverb, ambience through the L / R channels, including rear channels. With sound design stereo automation I imagine, it's L/R, rear channels and not included in the centre channel. Thank you for your support.
This is so damn interesting. I do audio engineering for music and have dabbled with creating environments or "scenes" like skits and it's fun as hell whenever I get to do that. Looking at this video almost makes me want to switch sides 😂😂
Hey there Matthieu. Unfortunately there is currently no shortcut for jumping in and out of preview mode. There are 3 main options available for doing this without clicking in the automation panel window. 1. use a Pro Tools Dock like I am - there is a preview button. Since the Pro Tools Dock isn't a viable option for everyone there are 2 cheaper methods. 2. Use a program like SoundFlow (highly recommend) to create new shortcuts to all sorts of stuff in PT, and 3.) use the pro tools control app either from your phone or a tablet and there is a shortcut window in the automation section where you can toggle preview as well as the capture, punch, write to, buttons
@@Myocum93 I mean that the names of the audio files that are seen in pro tools are named like a proxies files that were used edit: A003C014_130101_R40T_.mov
@@gadgettech5863 Ah. The perils of an indie film on this one haha. The metadata was delivered this way from Premiere. Couldn't actually tell you why on this particular front. It was a challenge in terms of metadata but we work with what we can!
Very cool- You could expand on your Dx Reverb Buss, that sort of just happened without looking at your send and buss. Also it would be cool to see your Dialog Buss Compression Limiting brick wall and a little about LKFS and TP. Where do all the Dx tracks go? etc. and how they are routed and controlled for delivery. But hey their is only so much time hahah. Its awesome to see the order of applied tasks laid out in the logical order that so many mixers do or least I have arrived at.. I have equal reverence for my DX editor.ha! Did you learn to do mix tasks in this order or did someone show you? Thanks for the Demo!
Hey Alex, thanks for the comment! I'll be doing a follow up video to try and answer some of these questions that got left out! Thanks for the feedback :)
I always enjoy your video tutorials. Thank you so much! Suggestion: I find this video hazy on my screen. I have RTX 3080 and HDR monitor. Try to use 4K setting in your next video. Everyone will enjoy your videos even more. I appreciate.
Hey Carlo, yeah only so much time I can take in each tutorial since they take quite a while to put together and plan out. I do hope to do a follow up video where I dive back in and take a closer look at some of these things since others have also been asking. Thanks for watching!
I do not think you are doing it correctly. I can still hear the dialogue in the final mix, you clearly need to bury it in blaring music and excessively loud effects.
