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Question about using Premiere Pro 5.5 and it's functions.

H

harmonica44

I recorded room tone for a scene, but for some reason, the room tone does not match the room tone you can hear in the background when the actor's are talking. Their seems to be a humming sound in the background when the are talking, where as when I recorded the room tone, the sound is not there. Their must have been a piece of equipment in the office that turned on in another room, that we missed, and didn't notice when it turned on later while shooting.

I need to cut out a piece of that humming when no dialogue is spoken, and then stretch out that cut, and make it the room tone, for the whole scene. Is their anyway I can stretch out the cut, so I am just really making copies of the cut that loop itself? Or do I have to keep constantly making copies of the same cut?
 
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If I do that I make multiple copies of it and put the constant power transition between each. This is only going to work if you can find quite a lengthy bit to play with which doesn't vary much during the clip.

I don't think there is a way in Premiere to do automatically loop or extend it.
 
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Okay thanks. Their is also another thing. In a couple of scenes my friends agree with me, that it does not sound like their is room tone in the scenes. They say if no one is speaking or moving, that the movie is too silent as if the sound is completely dead. But I did record room tone for those scenes, and it's in their. Could it be that I am suppose to do something else after adding it in?
 
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Now I am not a sound expert but this is what I would probably do.

Unless the scene warrants total silence, which is usually only for eary purposes (IMO) then I would suggest putting a slight atmosphere sound effect over the top or re-record the the room tone with a little more gain.

One other option which I think comes under sound design or sound post. Aclove or APE will of course put forward their opinion probably killing mine but if you add in more specific recorded noises to add to the scene. So you've got your room tone, but on the far side of the (hypothetically) you have a fan, record the audio of the fan close up and put it into the scene unnoticeably etc. Stuff like this.

If you haven't already, read this http://www.indietalk.com/showthread.php?t=45351&highlight=principles+sound+design
 
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Have you looked for pieces of room-tone from the alt takes? Loop 'em.

Have you done the Foley yet? Footsteps, clothing, hand props, etc. That fills in some of the emptiness.

Have to really LOOKED at what is going on in the scene? What is the context of the scene? What is the aural ambient nature of the location with regards to the scene? Any visual cues for your office machines? Phones? A copy machine? Computers? Conversations or people moving around off-screen? Muzak? What's happening outside the windows? Big city? Rural? Rain? Windy? Take all of the visual cues and build upon them! That also fills in the empty sonic space.

Sound design and audio post are about filling in those thousands of tiny sonic details. I just spent over 25 hours creating (or finding in my sound library) and then syncing sound effects for a three minute animation, and another 15 hours mixing. That's over 40 hours of work on a three minute sequence that has no dialog. There are no quick and easy solutions; sound editing/design is very painstaking, detailed, often PITA work. I'll audition 20 sounds for just one cue, pull a half dozen into the time line and play with them until I get what's right. Maybe stack a few, or cut pieces out of several to create one sound, and/or manipulate them with EQ, effects, time/pitch, etc. And sometimes have to toss it all out and start from scratch all over again.

Once again you are forgetting all of your lessons, and aren't trying any creative problem solving, instead hoping others will solve your problem for you. You may want to do the work, but you don't have the passion for it. When I have a problem I have several "mind bender" routines I go through to get out of my rut. If I still have a problem then I go to my peers on sound-for-picture forums, and I damned well let them know what avenues I've explored before I get to the question. Do the work, damn it!
 
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Okay thanks, I am looping them now. I have done about half the Foley and still doing it whenever it's convenient to record sounds.

When I need to add reverb to a clip, then send it to Adobe Audition, mix it, then export, I have a problem. If I put the clip in an OMF container, it is then changed from 24bit/96khz, to 16bit/48khz. I know the khz, does not make a difference, but what about the bits?
 
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