![]() ![]() There are other creative ways you can use filters and EQ to help complement the cinematography of a film. Automate the gain and frequency cutoff of a filter to add extra drama to a distant sound effect as it comes into view or disappears behind the viewer. A gentle high-shelf filter can help place sounds far in the distance, like they’re coming from behind the speakers. Mix beyond the speakersĭon’t forget all the stereo techniques we’ve used in the past to create depth and width with just two speakers. You can take this a step further by using the dialogue track to sidechain a dynamic equalizer or multiband compressor on music, FX, and background stems, so that frequency cuts only happen when the dialogue is present. Sometimes an adjustment in the frequency area between 2-5 kHz can help with dialogue clarity. Carve out space for dialogueĪ dense mix of music, effects, and ambience can sometimes mask dialogue tracks. What can you do with the mix to make sure that all the intensity and emotion of the performances are coming through? Are effects or backgrounds distracting from the dialogue? Less may be more! 4. Take a minute to close your eyes or even turn off the video monitor and listen to how the story translates without visuals. It’s important to make sure that the sound design, score, and mix are always complementing the script, performances, and storytelling, and never become a distraction. Is the dialogue still clear? Does that dramatic fly-over effect translate from the back of the room? Did all the violas disappear when you moved to the left side of the room? Does anyone care about violas anyway? 3. Take an opportunity to stand up and walk around during your mix session, sitting in a few different places and observing how your mix translates. There’s a very good chance that most viewers won’t be able to sit right in the sweet spot and get that same immersive experience you have at your mix position. Sitting right in the middle of carefully configured studio monitors may give you beautiful imaging of all of your surround effects, but don’t forget to think about all the viewers in a theater or living room. Using a test disc on a separate DVD or Blu-ray player may not reveal problems in your software configuration or audio interface. You might even build some customized test sessions so that you can quickly assess your system’s accuracy and troubleshoot any problems right from your regular DAW or NLE. While you read it, sketch out a checklist that you can review before each session. The Recording Academy’s P&E wing has published a handy PDF reference with their recommendations for surround sound production. ![]() It’s worth taking a few minutes at the beginning of a mix session to ensure that your system is properly set up and calibrated. Whether you’ve been mixing in surround for a while or are just getting started, these are a few tips that could help you in your work. Working in 5.1 or 7.1 can offer a staggering amount of flexibility for creative sound design and mixing in films, television, video games, and music. ![]()
0 Comments
Leave a Reply. |
AuthorWrite something about yourself. No need to be fancy, just an overview. ArchivesCategories |