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August 9th, 2006, 10:24 AM | #16 | |
Wrangler
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August 9th, 2006, 10:37 AM | #17 |
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Location: Bangkok, Thailand (work in US in the summers)
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sounds like a messy, time-consuming process...glad it worked for you...I've found some nice firewire input devices offering up to two mic inputs for around 120 or so...might check one of them out...some that even allow you to stack and work with bigger inputs the company also offers if you want to upgrade down the line...plus the maudio one now supports Pro Tools...that's a nice cheap way into the Pro Tools line up....anyway, I'm getting excited...don't know how in the world I'm supposed to record a VO track in Laotian :)...I know a little Thai which is close, but this is going to be quite the process and I'm going to have to trust my Voice Talent quite a bit...
Paul |
August 12th, 2006, 02:29 AM | #18 | |
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I used this technique exclusively whist with a company too tight to provide the correct tools for the job. I'm now independent with an Edirol UA-25 as a pre-amp/compressor. :) It took a couple of goes to sort it out, but works great with Boom Recorder (Mac software recorder that does time-of-day timecode into FCP): http://www.vosgames.nl/products/BoomRecorder/ Its other great trick for VO work is that a simple keypress splits your current live recording, increments the 'take' label and continues to record to a new file without losing ANY audio - if talent fluffs and starts to retake, hit the key. No 'snip snip snip' later on, just top and tail. |
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August 16th, 2006, 12:54 AM | #19 |
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[This may sound cheap and miserley, but if you connect your microphone to your DV Camcorder, then connect this via firewire into something like Final Cut Pro's built-in Voiceover tool, your camcorder acts just like an audio interface.]
I'll go Matt one better. Get an Apple iSight. It's a FireWire camera-- and a darn good 48K mike with - to my ear- a very respectable signal. It's recognized immediately within FCP's VO tool. Hang it upside down on an IKEA desklamp on its magnetic stand. This gives you hands-off flexible positioning. And while it doesn't have that cool split-track/continue-recording feature Matt indicates, you just mark an In and Out in the timeline, go Shift-C to begin recording, and ESC to stop. Clip name increments by one and starts on a new track. I have used this in two ways, 1) Scratch narration for the docs I cut; 2) Low budget FireWire feature ADR. I place the actor right in front of the screen so he can rehearse to his own lip movements or the action. He dons iso cans so he can hear the 5-second run-up but we don't, and he lays down as many tracks as needed. In a quiet room it works a peach! - Loren |
August 16th, 2006, 05:10 AM | #20 | |
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Good news, Cousins! This week's chocolate ration is 15 grams! |
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August 16th, 2006, 11:01 AM | #21 |
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Vegas and ACID allow the same. They're great for tracking, whether recording a voice-over, or a music track. You can set the punch-in, punch-out points and set a loop with as much pre-roll and post-roll as you want. Hit REC and do as many takes as you want, hands free. When done, hit the spacebar, and choose the best take.
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Jon Fairhurst |
August 16th, 2006, 02:07 PM | #22 | |
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Not a bad trick to have up your sleeve, but in my experience, the no holds barred best compressor is manually riding the fader (virtual or otherwise). With DAWs nowadays, you can really do a good job with your mouse of smoothing out offensive peaks without killing the signal. |
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August 17th, 2006, 07:00 PM | #23 | |
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I agree completely for on-screen dialog. Just tweak the envelopes. You can take down the odd offending peak and boost the empty syllable. The parallel compression thing is specifically for BIG VOICE voice-overs. I recently recorded myself doing a Hollywood trailer, super-breathy voice-over and the results really exceeded my expectations. (Real talent would have done it much better, but not within my budget.) If you're going for the Don Pardo sound, don't just ride the faders, use the parallel compression trick. (Don must have a compressor built into his vocal chords!) Here's a trick for on-screen dialog normalization: Copy your dialog track onto a second track. Apply very conservative noise reduction (only if needed) to the main dialog track. Apply aggressive noise reduction to the second track. Set the envelope of the first track to nominal, and the envelope on the second track to zero. When the dialog is too faint, mix in the second track. This technique keeps the ambient noise consistent. Gaining up your dialog doesn't add any appreciable noise. Also, you always have some relatively untouched dialog as your base, so it doesn't sound processed or garbled. I did this on our 48-hour film project entry this past weekend and I was able to get very nice, even, clean results - fast!
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August 17th, 2006, 10:19 PM | #24 |
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That's a pretty good idea, Jon, thanks.
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