Processing dialogue on the set

Posted: Sun Aug 26, 2001 3:40 pm

Ok Joel, whats the best way to get that nice present, (from a whisper to a shout) voice track on the set? Is there some kind of processing that brings everything out?
--Rick

Posted: Wed Sep 05, 2001 4:03 am

Thanks, sometimes I have less than ideal conditions, or a mumbler, machine noise etc. Any dynamic multi-band noise reduction units you can recommend? --Rick

Posted: Wed Sep 05, 2001 10:13 am

Rick, unless you do live broadcasting, try to leave processing to the post-production stage. Not that you are not capable of judging it well (I bet most field mixers have ears just as good as re-recording ones), but rather because you don't know what will happen with your dialogue... maybe it will get chopped to bits and pieces in editing, or maybe it will sit over a dynamic-rich music soundtrack, etc. You shouldn't make too many "hard" decisions (especially ones like compression/expansion and EQ) until you can hear the whole soundfield coming together. Even in the high-end motion picture soundtrack mixing, most corrective steps are taken in the re-recording studio (notch filtering, comb filtering, etc.), unless the faults are so big that they need specialized audio restauration gear and DAWs to solve.Plus, all things considered, you won't be able to carry in the field the gear post-production will likely have in the studio.Other than that, I can only agree with Mr. Gette over how important mic positioning is. Practice, practice, practice... (and good tools).If you work in difficult conditions, try a different type of mike to get in closer, shield the set with some blankets/curtains, use lavs, ask production to shut down any unnecessary equipment, do a bit of vocal coaching with the mumbling talent, etc. If everything else fails, it's time for .. *gasp* ... ADR. Smile

Cheers,
Andrei

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