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watch Interrogation Scene
- Thread starter mus
- Start date
LOL!
Pretty good.
As an aside, ya'll's obsession with Pokemon and video games as source material continues to be amusing.
I like how nice and black you got the background.
My cr@p cam doesn't doo that much black too well, comes out all grainy and blotchy.
The lighting is great.
The audio is spot on great.
The back and forth editing is fine, probably would have benefited from some genuine OTS shots.
The dialog is great! Love it!
Psst. Your girl is great, BTW. You should keep her. And maybe... give her (and yourself
) some screen credit. Just a courtesy thing. 
Oh! And "Liked!"
Pretty good.
As an aside, ya'll's obsession with Pokemon and video games as source material continues to be amusing.
I like how nice and black you got the background.
My cr@p cam doesn't doo that much black too well, comes out all grainy and blotchy.
The lighting is great.
The audio is spot on great.
The back and forth editing is fine, probably would have benefited from some genuine OTS shots.
The dialog is great! Love it!
Psst. Your girl is great, BTW. You should keep her. And maybe... give her (and yourself
) some screen credit. Just a courtesy thing. Oh! And "Liked!"
Last edited:
Hey, that was cool. Very simple, funny.
Good job!
Good job!
Great dialogue. Good lighting, too!
it's about a dude trapped in the friend zone
Couple of problems, had a falling out with one actor and he refused to take part in ADR. But I think mostly my first edit wasn't very wasn't satisfying and then I got sick of watching the footage over and over.
I went back to it last week and the new edit is much better. There's no rush for release so I might give it another week or so to settle before I start thinking about color correction and final audio post processing
Hey, Mike
I'm editing together a bunch of video/audio clips from those lo/no budget films I reviewed over the last year and am noticing the audio is just all over the place for each and every single film/filmmaker.
I'm having to manually boost or lower each audio clip by anywhere from 3 to 30 dB to provide a consistent dialog soundtrack level (which I'll end up knocking down for my own narration VO.)
I was wondering since you're putting a product out every week what're the tools and what's the process you're using for your videos?
Do you do a sound test on set/site checking peaks and average dialog input levels to adjust the microphone placement?
Or do you just "eyeball" the mic placement and then adjust in the NLE or DAW?
I'm editing together a bunch of video/audio clips from those lo/no budget films I reviewed over the last year and am noticing the audio is just all over the place for each and every single film/filmmaker.
I'm having to manually boost or lower each audio clip by anywhere from 3 to 30 dB to provide a consistent dialog soundtrack level (which I'll end up knocking down for my own narration VO.)
I was wondering since you're putting a product out every week what're the tools and what's the process you're using for your videos?
Do you do a sound test on set/site checking peaks and average dialog input levels to adjust the microphone placement?
Or do you just "eyeball" the mic placement and then adjust in the NLE or DAW?
Well, with Magic Lantern, I can monitor the audio on my DSLR. I use a Rode Shotgun mic (thanks to Alcove for suggesting it, it is freakin awesome) sometimes on a boom pole, sometimes just attached to the cam.
And yeah, sometimes I have to adjust the settings, but more often than not, I just adjust volume in post. Adobe Soundbooth has some awesome presets that automatically lower the peaks, or put the entire audio track at the same level.
And yeah, sometimes I have to adjust the settings, but more often than not, I just adjust volume in post. Adobe Soundbooth has some awesome presets that automatically lower the peaks, or put the entire audio track at the same level.
I liked the content, the timing and delivery seemed good and overall I found it watchable and amusing. I know this doesn't sound like much of a compliment but it is, considering how unwatchable I find most no/lo budget attempts to entertain me!
That depends on how we define "great". It's certainly considerably better than the average no budget audio quality and it's obvious Mussonman has put time and effort into the sound. Within this context (of very good sound relative to budget level), I'd like to make some constructive criticism to maybe help the OP towards the next level:
1. There were a number of extraneous clicks (8-10). I'm not sure exactly what caused them, they sound like they're maybe due to lip smacks rather than editing at non- zero crossing points because they tend to occur on the start of words rather than just before or after. BTW, I'm not talking about the lip smacks from the actor chewing gum, those are obviously intentional and generally work OK. Once in post, it might or might not be possible to deal with these clicks. Because they occur on the word, they obviously can't just be edited out. There's some specialist de-click plugins which might help (but also might not!), there's also the possibility of just editing the offending letter and replacing with the same letter appearing somewhere else. This can be a bit finicky to do but can yield excellent results is some cases. And of course there's always the last resort of ADR. The solution in the long term for future projects, is to increase the level of detail of your production sound monitoring. Maybe better quality headphones or maybe just monitoring a little louder with your existing headphones and concentrating harder, which should be much easier now you know to listen for these clicks. This solution is obviously based on my assumption that the clicks are occurring during production rather than being caused by editing or some other post process.
2. There are a couple of rustles/creaks which occur between words/sentences and appear unintentional, these could easily be edited out.
3. The perspective of the SFX is a little distracting as they are more "present" (forward in the mix) than the dialogue. Some ambient reverb and a little EQ would help move them back a bit in the mix without having to change their level. There are also some intentional (I presume) lip smacks and other sounds which occur off camera (seems like an L-cut), where the shot is of the actress but we are hearing the actor. It's fine to do this, although I personally would pan them towards the right, relative to where they are supposed to be happening, to maintain audio perspective. I might also consider panning the actress slightly to the left and the actor slightly to the right throughout, not hard right and left, just a bit. This would aid the visual illusion you're trying to create with your framing of their relative positions.
4. Your drone contains a great deal of very low frequency energy. In fact, the vast majority of the total audio energy contained in your mix is concentrated below 60Hz, in some places the LF part of the drone is 30dB or so higher than the dialogue. On most systems this won't be particularly noticeable because most home speakers don't reproduce much below 60Hz (most laptops don't produce much below about 120Hz) and even very good speakers/monitors usually roll off low frequency from about 40Hz-50Hz. But for those with sub woofers, or even for some with headphones that have good LF response, the amount of low frequency content in your mix could be at least distracting, if not outright uncomfortable! There are also other potential consequences to unintentionally concentrating the majority of the energy in your mix in the very low frequencies but I won't go into the details in this post. I'm presuming you haven't noticed this issue because your monitoring system/environment does not have good LF response?
That's entirely in line with what I would expect and what I've experienced. I've also seen lower tier film festivals have to adjust by these sorts of amounts as well. DIY lo/no budget indie filmmakers tend not to know or care much about audio. Hardly any acoustically treat or tune their mixing environments and very few even bother with the simple basics of calibrating their speakers, which would at least get them vaguely in the ball park and only costs a few dollars and 10 mins or so. Just as well that Youtube and other self distribution channels don't have any audio specs! It's only potentially a serious problem when looking at more commercial distribution channels or when having to switch between different DIY films/content.
G
That depends on how we define "great". It's certainly considerably better than the average no budget audio quality and it's obvious Mussonman has put time and effort into the sound. Within this context (of very good sound relative to budget level), I'd like to make some constructive criticism to maybe help the OP towards the next level:
1. There were a number of extraneous clicks (8-10). I'm not sure exactly what caused them, they sound like they're maybe due to lip smacks rather than editing at non- zero crossing points because they tend to occur on the start of words rather than just before or after. BTW, I'm not talking about the lip smacks from the actor chewing gum, those are obviously intentional and generally work OK. Once in post, it might or might not be possible to deal with these clicks. Because they occur on the word, they obviously can't just be edited out. There's some specialist de-click plugins which might help (but also might not!), there's also the possibility of just editing the offending letter and replacing with the same letter appearing somewhere else. This can be a bit finicky to do but can yield excellent results is some cases. And of course there's always the last resort of ADR. The solution in the long term for future projects, is to increase the level of detail of your production sound monitoring. Maybe better quality headphones or maybe just monitoring a little louder with your existing headphones and concentrating harder, which should be much easier now you know to listen for these clicks. This solution is obviously based on my assumption that the clicks are occurring during production rather than being caused by editing or some other post process.
2. There are a couple of rustles/creaks which occur between words/sentences and appear unintentional, these could easily be edited out.
3. The perspective of the SFX is a little distracting as they are more "present" (forward in the mix) than the dialogue. Some ambient reverb and a little EQ would help move them back a bit in the mix without having to change their level. There are also some intentional (I presume) lip smacks and other sounds which occur off camera (seems like an L-cut), where the shot is of the actress but we are hearing the actor. It's fine to do this, although I personally would pan them towards the right, relative to where they are supposed to be happening, to maintain audio perspective. I might also consider panning the actress slightly to the left and the actor slightly to the right throughout, not hard right and left, just a bit. This would aid the visual illusion you're trying to create with your framing of their relative positions.
4. Your drone contains a great deal of very low frequency energy. In fact, the vast majority of the total audio energy contained in your mix is concentrated below 60Hz, in some places the LF part of the drone is 30dB or so higher than the dialogue. On most systems this won't be particularly noticeable because most home speakers don't reproduce much below 60Hz (most laptops don't produce much below about 120Hz) and even very good speakers/monitors usually roll off low frequency from about 40Hz-50Hz. But for those with sub woofers, or even for some with headphones that have good LF response, the amount of low frequency content in your mix could be at least distracting, if not outright uncomfortable! There are also other potential consequences to unintentionally concentrating the majority of the energy in your mix in the very low frequencies but I won't go into the details in this post. I'm presuming you haven't noticed this issue because your monitoring system/environment does not have good LF response?
That's entirely in line with what I would expect and what I've experienced. I've also seen lower tier film festivals have to adjust by these sorts of amounts as well. DIY lo/no budget indie filmmakers tend not to know or care much about audio. Hardly any acoustically treat or tune their mixing environments and very few even bother with the simple basics of calibrating their speakers, which would at least get them vaguely in the ball park and only costs a few dollars and 10 mins or so. Just as well that Youtube and other self distribution channels don't have any audio specs! It's only potentially a serious problem when looking at more commercial distribution channels or when having to switch between different DIY films/content.
G
Ray, don't fall into the trap of equating dB levels with volume. dB levels measure the amount of energy in an audio signal but volume (loudness) is a human perception which is not directly related to this dB measurement. Our perception of loudness is non-linear (both in the time and frequency domains) and therefore the amount of energy in an audio signal is only one part of how our brains judge loudness. For example, it's very easy to demonstrate a sound which has 30dB more energy than another sound and yet sounds quieter.
Measuring/comparing peak dBFS levels is a particularly inappropriate and poor method of judging loudness. RMS (average) levels are better than peaks levels but still so poor in practise that it's an unusable measurement (for loudness).
G