Dialogue Techniques

1. Dialogue Techniques

2. Dialogue Recording Dialogue Usually recorded with at least 2 sources Despite being recorded by 2 sources this is still a mono recording and only one of the sources should be used at a time. Using more than one source can create phasing

3. Dialogue Recording Dialogue Lavalier and Boom mics are the most commonly used microphones for recording Dialogue. Lavalier Microphones are hidden usually in the actors clothing. Sometimes these microphones can even be hidden in an actors hair.

4. Dialogue Recording Dialogue Boom microphones are typically considered cleaner because they aren’t attached to the actor and are therefore not as susceptible to flaws from actor movement. They are suspended from poles often referred to as fish poles and directed at the actor that is currently speaking. Because the boom must move its orientation towards each actor that is speaking, it is extremely important that the boom op know the script well. However, when usable the Lav typically yeilds a warmer better sound due to the proximity of the microphone to the sound source

5. Dialogue Recording Dialogue Boundary microphones are also commonly used to record dialogue and can be installed in flooring or walls. These are PZM (Pressure Zone Microphone) mics. They usually look like a flat piece of metal that could be fixed to a surface

6. Dialogue Recording Dialogue When recording dialogue capturing the performance as cleanly as possible is the main concern, but other issues present challenges as well. When loading the dialogue, synchronization will need to be re-established between the picture and the audio. Choosing a recording medium the makes this as easy as possible while also keeping in mind track count and quality can be one of the keys to properly captured dialogue.

7. Dialogue Recording Medium Various options are available for recording systems. The easiest by far is directly to the tape that the video is being recorded to. This ensures proper sync. There are often track count limitations with this method that prevent larger productions from using this option, but for things like reality tv this is the most foolproof method.

8. Dialogue Recording Medium If the choice is to use an external system to record the dialogue, time code will need to be fed to both the video recording system in addition to the audio recording system. This gives the audio and video positional reference so that it is possible to re-align or conform the audio to the picture.

9. Dialogue Recording Medium Some External Recording systems include a.) Nagra-D b.) DAT c.) Hard Disk d.) Flash Recorders e.) Laptop

10. Dialogue Recording Medium Nagra –DII Recorder

11. Dialogue Recording Medium Sound Devices 788T Hard Disk Recorder

12. Dialogue Dialogue Editing Dialogue editing is typically the beginning of the audio post production process. In larger productions it is not uncommon for teams to simultaneously be working on all of the stems, but the dialogue will be the anchor to the mix and its important for it to take shape as quickly as possible, and to sound good.

13. Dialogue Dialogue Editing The goal behind the process is to have the dialogue for the entire film be free of any extraneous noise, like saliva sounds or mouth noise, and to sound cohesive so that it appears to have been recorded in one complete take. Environmental sounds as well as actor movement and performance flaws all present challenging hurdles to conquer.

14. Dialogue Dialogue Editing Room tone and alternate takes become the Dialogue editors tools. The process involves listening to each source, and take of every line, and determining which sounds the best, then comping together the dialogue performance with the best sounding takes. It is important to check each source (microphone) through each scene before choosing one. Switching sources during a scene can be a jarring change to the audience, and should be avoided unless necessary or justified through a perception change.

15. Dialogue Dialogue Editing Alternate takes are located using the Production Sound Log. The Dialogue editor must pay special attention to rhythm of each actors speech. Often times performances are cut together in a more choppy manner that would intuitively be done in order to maintain consistency in the actor’s performance. Breath rhythm must also be maintained.

16. Dialogue Dialogue Editing Room tone is used to smooth transitions and fill gaps between lines with clean sound. Many times noise from the movement of the actors clothes or other unwanted sounds can be heard in these gaps. Room tone is used to replace these sounds.

17. Dialogue Dialogue Editing One of the most common layout techniques is called Checkerboarding. The name refers to the appearance the audio files will have in your session. The idea is to alternate tracks as you alternate characters. It is not always possible to keep one character on only one track throughout an entire feature film, but you will find that keeping it consistent, at the least, from scene to scene will prove enormously helpful as the dialogue pre-mix begins to take shape.

18. Dialogue Dialogue Editing The goal of checkerboarding is to separate the different speakers onto different tracks so that one speaker can be manipulated with as few moves as possible. This method is also helpful as you attempt to smooth transitions between different actors because of the ability it gives you fade one source into another. Every microphone will have a different ambience that needs to be smoothed together.

19. Dialogue Dialogue Editing and Pre-Mix After the initial dialogue editing has been completed the dialogue pre-mix begins to take shape. Automation tools in pro tools are extremely important to master in this process. In addition to things like volume and pan, every parameter of every plug-in may be automated. This gives the dialogue editor/Pre-mixer the control they need to smooth the dialogue performance

20. Dialogue Dialogue Editing and Pre-Mix Demo of Checkerboarding/Room Tone/Automation

21. Dialogue Dialogue Restoration In order to maintain the integrity of the dialogue performance, great lengths are taken to repair damaged location audio. All things being equal the location audio is the best source for dialogue. Eq and volume should always be the first weapons of choice when attempting to improve the dialogue. If they are not sufficient enough to solve the issues, there are numerous methods and technologies for restoring damaged audio.

22. Dialogue Dialogue Restoration Cedar has long been thought of as being the leader in dialogue restoration, and has an extensive line of hardware and software but companies like Izotope and Waves have come out with numerous solutions as well. Digidesign’s DINR is also a viable option and is available in the production toolkit. Renovator video

23. Dialogue Dialogue Restoration If advance tools are not available there are several “tricks” that my prove useful. Eq Strip Silence or Gating Inverse Phase Compression

24. Dialogue Dialogue Mixing Demo of dynamics control How to get clarity when layered with other elements Music eq inversion of dialogue Compression and processing