Entries in post (10)
Which Is the Best VO Mic? - The Pro Tools Expert Voiceover Microphone Shoot Out Blind Listening Test - Part 3
Following on from our previous post on how and why we are doing our Pro Tools Expert VO Mic shoot out (including the signal path) here is the THIRD part of our blind listening tests. If you missed the first set of mics then you can find them here and the second set of mics, you can find them here
As before, we are using the Neumann U87 as the named reference mic for each batch of listening tests because it is one of the most used voice over microphones in the industry and so, familiar to most people.
For each microphone there is an example of male and female voice for you to listen to and compare with the U87. We would like to know which you prefer and why. Please vote and continue to let us know what you think. In due course we will be revealing the results and sharing which mic was which.
The VO Mic Blind Listening Test - Part 3
Thank you again to Andrew Bickenell and Posy Brewer our professional voice artists for their dulcet tones and to Nigel Woodford of Richmond Film Services for the loan of the microphones for the test.
Having imported an OMF/AAF from the on-line video, I choose to duplicate the OMF import tracks. I then have the original set for reference which I then inactivate and hide.
Next I turn OFF automation follows edit, (I don’t want dirty automation).
Then I MOVE (not copy) the media from the dupe tracks to the correct audio tracks (dial, music fx etc).
This means I can see if I miss anything, as it will be left in the dupe tracks. The other set I have as a perfect reference that was in the OMF” says the director earnestly….
Avid France have produced this excellent interview in French (with subtitles) with Frédéric Dubois.
He talks about his work in sound for film post production on major features.
Check it out.
Mike Thornton was joined by Simon from Soundworks and John from Halo post to host an upgrading to HDX seminar at BVE 2013.
It was a full house with an excellent opportunity to hear real world examples of the transition to HDX. As Mike has been one of the early adopters (if not the first), he was able to share both his joy and frustration about the journey, much of which has already been documented here.
A video of the session has been made and we will have it up as soon as we can.
James is also at BVE 2013, taking the mic baton from Russ and Neil and spending a lot of time interviewing on behalf of Avid, you can see them here.
We know that Pro Tools 11 will be out at some point and our best guess is sometime this year. What ever you might say about Avid, to continue to develop a brand new version of Pro Tools though the financial instability of recent times takes guts. There are a some things we already know about Pro Tools 11….
- It is a brand new app, written from the ground up.
- It is a 64 bit app with 64 bit plug-ins. This will mean that RTAS and TDM plug-ins will not work.
- It will only support AAX plug-ins, apparently there are some secret features that mean this has to be like that.
In the Post community what are we looking forward to having in Pro Tools 11? I’ll start the ball rolling with a few ideas…..
- Folders in the Clip List - if we get this and nothing else I for one will be happy.
- Off line bounce - personally, I am less worried about this as I need to listen to the finished product at some point, so it might as well be during the bounce.
- Simultaneous record and playback so you can edit whilst recording, great for audiobooks and other long form audio only world
What else would we in the post community like to see in Pro Tools 11? Over to you….
Russ sits down with Simon Hayes, the Oscar and Bafta nominated Sound production sound mixer for Les Misérables, although his credits include X-Men, Lock, Stock and Two Smoking Barrels and many more hit movies.
This extended interview talks about his journey into the industry and then focuses in on the groundbreaking audio work on the acclaimed Les Misérables. This is an unmissable episode that helps both those with industry experience, or those who are simply fans of the film, to understand the work that went into getting the audio right with an enormous challenge.
Find out how having three Pro Tools systems on set made the entire project possible and much more about this landmark project.
If you cannot see the audio controls, listen/download the audio file here
Excellent interview here on The Hollywood Reporter with 6 composers talking about bringing music to film, featuring Marco Beltrami, 46 (The Sessions), Mychael Danna, 54 (Life of Pi), Alexandre Desplat, 51 (Argo, Moonrise Kingdom, Rise of the Guardians,Zero Dark Thirty), Patrick Doyle, 59 (Brave), Danny Elfman, 59 (Frankenweenie, Hitchcock, Promised Land, Silver Linings Playbook), and Fernando Velazquez, 36 (The Impossible) — gathered in one room.
Over the last 2 months I have been working on and off on a Radio 3 drama for ‘The Wire’ slot and it has been a really challenging project to work on. The Pythagorean Comma hinges on the fact that the two different names we give for the black note on the piano in between the two white notes, D and E (“Ray” and Mi” in tonic Sol-Fa)- have two names – either D sharp or E flat. However, acoustically, and away from the piano (in the voice, or on a stringed instrument) these are not quite the same. The piano, with its so-called Equal Temperament, is in reality an out-of-tune compromise! and this difference gives the play its name.
Loosely based on Jules Verne’s story “Mr Ray Sharp and Miss Me Flat”, “The Pythagorean Comma” is a music drama with text by Blake Morrison and music by Gavin Bryars. Verne’s story takes place in a 19th century Swiss village. This contemporary version is set on a remote fictional Scottish island but the essential story is unchanged. A village organist gets old and deaf and stops playing and the organ falls silent.
Quietart Makers of the “Wave Rider” Automatic automation plugin have made a cool little iphone app that helps You determine Audio Visual SYNC Errors in video playback.
Catchin’ SYNC allows you to capture and manually determine audio SYNC issues on your video playback device.
In almost all cases, where audio and video playback passes through separate devices (i.e Audio through receiver, video through LCD TV or Projector etc.) there will be advancement or delay on the audio signal, making the viewing experience unpleasant. Catchin’ SYNC will help you determine if your system is in SYNC or not and by how much in milliseconds or frames. With that information you can add appropriate amounts of delay to your signal and get everything play along properly in SYNC.
Get tips for capturing and mixing ADR. Join the team for an in-depth free webinar on how Pro Tools makes creating an indie film soundtrack easy, from beginning to end.
As part of a series on creating indie film soundtracks, host and sound supervisor Tom Graham of Avid on Dec 18th at either 1pm or 5pm EST with special guests re-recording/ADR mixer Scott Weber (Person of Interest, LOST), Foley mixer Geordy Sincavage (Person of Interest, Welcome to the Rileys), composer Sean Halley, and director Brian Barnhart (The Ballad of Angel Face, Hollywood Gothic) will take an in-depth look at how to create a professional soundtrack on an indie budget.
- Tips for capturing and mixing production sound, dialog, music, Foley, and ADR
- Time-saving benefits of using a Pro Tools end-to-end workflow
- How to work with Foley and ADR to best match the picture
- Scoring tips for composing in Pro Tools using real and virtual instruments
- The fastest ways to deliver temp and final surround and stereo mixes
- Plus, get your questions answered by the team