OK, the standard practice would be to use get an AAF or OMF from the editors to import in Pro Tools. Ask for handles, you are going to need them. You would then organize the audiofiles from that AAF/OMF in a way that is logical, easy to navigate and helps you deliver the endresult(s) in the most time-effective way. This usually involves creating busses, auxes, re-recording tracks and masters. If setup correct this will help you monitor foodgroups like dialogue, atmos, fx, foley, music and make for efficient bouncing of full mix, M&E, downmixes and altversions in the end.
It also allows you to use compressors and limiters on those groups, so you can treat each one individually and appropriate.
Assuming you know the delivery-specs and have calibrated your monitors, you would then start to work on the dialogue, de-noise, de-clip, de-crackle what's needed, notch out resonances, hums, whines, roll of excessive lows/highs, boost where needed, de-ess where needed etc. Clean up bad edits by nudging the editpoints, or inserting room tone from the handles or where-ever you can find it. Level all of the dialogue roughly and smooth out all the transitions. This can mean adding noise to a clean shot to match it to a dirtier one that can't be denoised without artifacts.
Add atmos, hard FX, foley and roughly balance them to the dialogue. Add music and roughly balance them to the dialogue.
Sit down with the director and mix, when he/she is happy, you're done. If you did the job right, the whole thing is still within spec, ready to be bounced to whatever is needed.
Quote:
Originally Posted by Amber_tron  This wasn't so much a post asking "How do I do post-prod?", more along the lines of if there is a standard practice to approach this kind of thing. Like I said, totally new to this area of work but I appreciate the feedback. |
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