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Dialogue

Dialogue. Dialogue. Recording Usually recorded with at least 2 sources for each actor Boom, and Lav This is NOT L and R, DIA is almost always recorded in mono. Whichever mic sounds the best should be used. Try not to switch mic’s during a scene as perspective and ambience will change.

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Dialogue

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  1. Dialogue

  2. Dialogue • Recording • Usually recorded with at least 2 sources for each actor Boom, and Lav • This is NOT L and R, DIA is almost always recorded in mono. • Whichever mic sounds the best should be used. • Try not to switch mic’s during a scene as perspective and ambience will change. • The Lav usually yields a warmer, better sound.

  3. Dialogue • Pre-Laying • Moving the audio from the layout of the OMF file into a session template, so that all common elements are on their relative tracks. • These tracks are then summed to their appropriate aux for stem mixing. • These Stems are then summed to a “Full Mix” bus.

  4. Dialogue • Making Choices • . • Whichever mic sounds the best should be used. • Try not to switch mic’s during a scene as perspective and ambience will change. • The Lav usually yields a warmer, better sound. • 1st pass make gentle eq choices • Search for alternate takes if needed • Notes are taken applying to which lines will need to be ADR’d

  5. Dialogue • Dialogue Mixing • Leveling 1st thing to attack when mixing, dbv vs dbfs • Vu meters vs Dorrough • Peak vs RMS • Always level out before adding compression • Almost always Mono and panned in the middle or center channel. Dia always stays in the center regardless of listener position. • Create a mono dialogue stem

  6. Dialogue • Dialogue Mixing • Transitions between cuts and ADR will need to be smoothed. • Usually more is ADR’d than is needed as a safety • 1 method-Post fader compression and EQ so that you can control compression with the fader, overall levels post compression

  7. Dialogue • Dialogue Mixing • Prioritize Dialogue 1st, Music 2nd, and FX fill in. • Mixing to the lowest common denominator, monitor, Broadcast compression and limiting • Always know your deliverable specs

  8. Dialogue • Dialogue in Television • Television is much more stringent on Dialogue levels. • Longer form allows you to have more dynamics because you aren’t fighting commercial material as often. • Still important to understand how the material will level out relative to commercials and promos. • Usually a compressor and or Limiter at broadcast stage. Important to know the threshold that these pieces of equipment are set

  9. Dialogue • Dialogue in Television • Every broadcaster has it's own specs. You have to get the specs of your target TV channel. • They can be very detailed, like the Discovery specs or the PBS specs. They will tell you exactly what is your max peak level, average dialogue level, average overall level, what measurement instrument is to be used etc. Meter that the networks usually specify is Dolby LM100.

  10. Dialogue • Dialogue in Television • Some network specs give you only the maximum peak level, and the reference level. • REFERENCE LEVEL - it is used for equipment alignment, and doesn't have a direct relation to actual mixing levels. • In SMPTE countries it is -20dBFS and corresponds to electrical level of +4dBu • MAXIMUM PEAK LEVEL - this is where you set your brickwall limiter on the master buss, or otherwise not go over it. • Average Dialogue Level Varies from network to network.

  11. Dialogue • Dialogue in Television • TV commercials • Again, you have to get the specs of your target TV channel, but you will most likely only use the max peak value they provide. Below that, you can compress as much as you wish - it's a loudness war, similar to the one in popular music production

  12. Dialogue • Dialogue in Theaters • There are no guidelines in terms of average loudness, peak or any other level measurement. You achieve proper levels by properly calibrating your listening environment, so that it resembles the environment of the theater. • X-Curve has provided the motion picture industry with a valuable standard that ensures plausible interchangeability of program material, from one studio to the next, from studio to theater, and from film to film, which takes into account the different perceived spectral response of different room sizes.

  13. Dialogue • Dialogue on DVD • Here, same rules apply as with the theatrical mix, except that the monitoring is different (near-field, no X-curve), the room is smaller, it is calibrated lower, AND there is the dialnorm parameter if your sound is AC3 encoded. • You have to determine your target dialnorm BEFORE you start mixing, so you can adjust your listening level accordingly. Most DVD's are mixed for dialnorm -27dB (because that setting is the most compatible with the theatrical mix), but some use the full dynamic range (-31dB)

  14. Dialogue • Dialogue on DVD • Remixing for DVD usually occurs because of • the x-curve is not used • different target listening environment - home is not as quiet as the theater, sound is often reproduced from poor speakers, so this re-mix serves mostly for the quieter parts to be raised a bit; • the specifics of near-field listening - some errors in details and imaging can get revealed. Also, loud parts can get too loud when listening close

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