Room Tone...

[Branko]

Originally Posted by charles maynes

Does the term "mag-wipe" ring any bells?.....

Yes, it does! But, honestly, you would do that only if there was no other solution for the problem. It takes a looong time to edit that way.
And one thing about HP on location - I hate when the prod sound comes with boom handling rumble all over the place, so a 6 dB/oct, 50-60 Hz can just improve the situation.

[rhumphries]

Originally Posted by soundbarnfool

<snip> And I try to do my own 'location ADR" on weak dialogue too, ...<snip>

Sorry for the tangent but...

I'm just curious about how you go about doing this. Are the Director, AD, and actors usually receptive to the idea? Are you able to get the whole crew to shut up while you run through the scene again? Presumably you talk to everyone early on about the possibility of doing this, but I can imagine that there are are forces on set that just want to move on to the next shot.

-Richard

[soundbarnfool]

All of the above. Sometimes people are receptive and sometimes not. I don't generally do the whole scene, just what is needed. Depends on how well organized the shoot is... And how much $$ they have for post! And whether or not they understand the connection!

[danijel]

Originally Posted by rhumphries

Sorry for the tangent but...

I'm just curious about how you go about doing this. Are the Director, AD, and actors usually receptive to the idea? Are you able to get the whole crew to shut up while you run through the scene again? Presumably you talk to everyone early on about the possibility of doing this, but I can imagine that there are are forces on set that just want to move on to the next shot.

-Richard

For me, this is much easier then getting room tone. The production doesn't understand why we need room tone, but they are always ready to sacrifice some time after the shot, rather than paying the actor to come to the studio for a few lines. Actors also like it much more than waisting time on ADR.
I have to scream a split second after the 'cut', that we need to repeat some lines for the sound department, and ask everyone to remain in position. If that moment is gone, then there is usually no chance later on.

[leeg1970]

Originally Posted by danijel

For me, this is much easier then getting room tone. The production doesn't understand why we need room tone, but they are always ready to sacrifice some time after the shot, rather than paying the actor to come to the studio for a few lines. Actors also like it much more than waisting time on ADR.
I have to scream a split second after the 'cut', that we need to repeat some lines for the sound department, and ask everyone to remain in position. If that moment is gone, then there is usually no chance later on.

Good point Danijel.

To add. I've managed a few times (with a forthcoming DOP) to get play back (if you're not using film of course) of the scene(s) I've wanted (if you do this, write down the TC on a seperate piece of paper for speed) At least this way the actors get reminded of their timings, potentialy making life easier for Post.

Lee

[UnderTow]

Originally Posted by danijel

After reading the book, I really got the impression that there are two 'schools', so I would like to know which of these techniques is predominant in other people's workflows? Is it an Europe<->US thing, an East coast<->West coast, or something like that?

I use both techniques. Cross-fades probably more than "hard" cuts. It just depends on what works best for any giving situation. This doesn't really say much of how others in the Netherlands work as I learned most post techniques I use on my own.

I am now reading John's book and enjoying it very much. It is good to see that the techniques I have been using are used by others.

Alistair

[charles maynes]

Originally Posted by ggegan

Oh come on, let's not go overboard here. Breath and soul? Baby seals? It's noise that only exists to obscure other noise that becomes conspicuous when it goes away. Necessary? Very, but hardly oil paint. If you're passionate about it, I say to each his own, but I can think of better things to get excited about, like things that actually add drama and content to a scene. I don't mean to be disagreeable, but I think this has gotten way over intellectualized.

I have to agree with Gary here... It is a smoothing element... I have veeeeeerrrrryyyyyy rarely see roomtone really define an ambience in the features I have done-

[Henchman]

Originally Posted by charles maynes

I have to agree with Gary here... It is a smoothing element... I have veeeeeerrrrryyyyyy rarely see roomtone really define an ambience in the features I have done-

I totally agree.

[vrc2250]

I do both Production Mixing and Post. A majority of the movies I've done Production Audio are 1.5mil and below. Try getting the crew to stand still for more than 10-15 seconds is impossible. The last show I worked had gone into overtime and the Line Producer was standing behind the DP and Director looking at his watch during a take because we were about to hit Gold Time. Now, tell me you ask for room tone then and see how quickly you are shown the door.. My general workflow now is to stay during lunch while everyone is off eating and get tone..

I don't stress that much on the Post side for tone. I use RX or whatever works to knock down the noise without leaving artifacts. I've done the duplicate/invert/ record with smashed compressor trick and then use a pink noise generator, eq the PI>>> out of it to get close to the room's noise then either ride the fader or a 3-6db duck to help fill the gaps. Works pretty well.