explainer video

Archive for the ‘Audio Production’ Category

The Process of Audio Post Production for Film

Wednesday, May 3rd, 2017

When making a movie, whether it’s a big budget picture or a small independent film, audio production is to a film like ambience is to a room. A sound track is one of the most important aspects to making a great movie. The post production phase is often thought of in terms of video editing and computer graphics alone.  Shaping the audio to match what is happening on the screen is critical to making the full experience work. Post production of audio (or audio post as it is referred to in the film industry) includes ADR (automatic dialogue replacement) or “dubbing”, sound effects, mixing and mastering, and music. The film’s sound track must be genuine and carefully crafted to support the film and to enhance the overall experience.

Automatic dialogue replacement (ADR) is the process of replacing dialogue that was recorded while filming each scene. During the filming, it is often difficult to get clean, balanced dialogue recorded due to movement and background noises. Recording new dialogue in a studio gives the sound engineers higher quality audio and more control on how the dialogue will sound in the final product. Studios will have a special vocal recording room set up with both a screen to play back scenes from the movie, headphones for the actor or actress to hear what dialogue was recorded, and a high-quality microphone to record the new and better quality dialogue.

The actor or actress will typically watch and listen to the scene a few times to get a sense of pacing and tone for the dialogue. They will then recite the dialogue with the scene as it visually plays back, trying to closely match their original performance. Multiple takes are often done so the sound engineer has more to pick from in the final stages. Studios also often have plugins that can warp the audio to more closely match the original so that the new dialogue matches what we see on screen. In many movies, almost all the dialogue is replaced during the post production phase to make sure that every line is clean and clear. Though it takes time, it ensures that the final audio is free of any extraneous noise and other sound issues.

Sound effects, also referred to as ‘Foley’, are added to match events and actions on screen as well as enhance the overall experience. Explosions, lasers, gun shots, and cars are often the first things we think about when it comes to sound effects because they are loud and present in the movie. But a good sound engineer also pays attention to the subtle sounds too. Because ADR is often implemented, the original audio from the filming set with all the background sound is scrapped. Sounds like doors shutting, keys jingling, and even footsteps must be added during the post production phase to make a scene more genuine and authentic. While these seem like small details that go unnoticed, they can be glaringly apparent when missing from a movie.

The process of adding these sounds can often be one of the most creative parts of audio post-production. Some sounds are recorded out in the field and then shaped in the studio to match the scene. Others are done in the studio in a process similar to recording ADR. The in-studio recording is done in a room where the engineers can watch the scenes of the movie that need Foley (sound effects) added. The engineers will have various objects in the room to make the sounds and will ‘play’ the objects along with the scene. Some sounds can be made by recreating the same action, while some creative methods can be used to create others.

One famous sound often thought of when discussing Foley is the Star Wars blaster, which was created by striking a high-tension wire with a hammer. Many of the sounds created in audio post production then go through a lot of effects processing so they more closely match the action on screen.

Once all the necessary dialogue and Foley has been recorded, the sound engineers must mix everything together so it sounds balanced and crisp. Dialogue is often compressed and equalized so it sounds natural and consistent. Reverb will often be added so that the voice matches the location in the movie. Though these may seem like subtle changes, they can drastically affect the viewing experience. If the setting and sound do not match, viewers can immediately tell that something is off. If the scene takes place in a small room, but we hear reverb consistent with a large cathedral hall, the sound will feel disconnected from the picture. Foley is often mixed at lower volume levels than the dialogue so it sounds organic and doesn’t overpower the rest of the sound.

The audio must also match current standards set in the film industry. 5.1 surround sound mixes are done differently than stereo, with the dialogue typically being the only sound on the center channel. Both mixes are often prepared for large releases. Standards for the level of film sound have also been set by various organizations, with the International Telecommunications Union having one of the more global standards set. Loudness meters have to be employed during the final mixing phase to make sure the movie meets these standards.

Primeau Productions has experience with audio post production in the film and television commercial arena. We understand that sound effects may need to be created and are experienced with the process.

Budgets for audio post production should be set in advance and strictly followed because too much time can be spent on this aspect of the post production process. Give our studios a call to discuss how we can help you design an award winning audio track.

How to Find an Audio/Video Professional

Tuesday, June 18th, 2013

Relationships: Creating a successful product is rarely a solo act.

14561581102_472fb7425cWhen producing a multimedia product, the single most important thing you can do to ensure your success is to establish a relationship with an audio/video professional. He or she will be your partner from the beginning to end of this project, and perhaps, become a lifelong partner for all of your multimedia endeavors. This person might be a producer, a director, a writer, an audio engineer or a video editor. Finding this one person is probably the most challenging and time-consuming parts of the production process.

Why? Because as you sift through the Yellow Pages or Internet directory, or read brochures and resumes, you have to invest a great deal of time in finding the right person: the one you will connect with on a creative and personal level. This is a relationship in every sense of the word. You either hit it off, or you don’t.

 

Look For a High “Get it” Factor
It takes time to find a like-minded professional who “gets you” and what you want to do. They must be able to realize the unique value of your message or music to do it justice. And you don’t want to settle for less. You don’t want to work with someone who doesn’t appreciate your expertise or talent. You want to work with someone who you like, admire and respect, and who feels the same way about you. When you start meeting with people, pay attention to vocal tone and body language. You’re looking for someone with a positive, enthusiastic attitude who is excited about what you do.

Ask the Right Questions
When you’re selecting a recording studio or production facility, be sure the people who are assigned to your project understand your industry. Do they have the experience to understand what you are trying to accomplish? Can they bring something of value to the table? If you are making a hit record (old term, I know) has this engineer or producer ever recorded or produced a hit record? What credentials do they have? Are they interested in what you are producing?

When you find someone that has interest in your work, they will contribute more to your production. Now you’re getting added value! Watch out for hard sells. Multimedia professionals know how costly the production business is, and the respectable ones won’t rush you into creating a product before you’re ready. If you meet anyone who launches into a hard-sales, reduced-to-the-ridiculous-estimate closing technique, run for the door.

Match Their Strengths with Your Needs
When it feels right, you’ll know it. It’s tremendously rewarding when you finally meet someone you feel you can trust. Beyond his or her expertise, this person will show you the support and encouragement you need as well as provide you with honest feedback and criticism that can save you time and money, not to mention, the embarrassment of putting out an inferior product.

For example, I worked with professional speaker Floyd Wickman to create an audio training program. The relationship that grew as a result of this project shows you what to look for. Floyd came to the music-recording studio where I was employed at the time. This was a big mistake because a music studio cost him a great deal more than a conventional voice over studio. I was assigned as his account person and engineer, which proved to be fortuitous, turning a potentially bad decision into something good for both of us. Not only did this experience shape the course of my career, but it also gave him an excellent product. The most important factor in our success is that we truly enjoyed working with each other.

Keep in mind that each person you interview for a possible relationship is an expert at something, regardless of where they are in their career. They have their niche. As you evaluate the candidates, look for strengths that match your needs. If you are producing a narrative CD, don’t hire somebody who has never produced a narrative recording.

Interested in learning more about professional audio/video services? Contact me at 800-647-4281.

This information is taken from my book The Art of Production, which you can purchase from Amazon here!

photo credit: handshake via photopin (license)

Primeau Productions Records ‘Michigan Man,’ potential State of Michigan Theme Song

Tuesday, February 19th, 2013

5507544414_5b6bfa3354In 1996, musician/songwriter Mike Ridley wrote and recorded a song titled ‘Michigan Man.’ The song is being considered as the official state song for Michigan. Primeau Productions is a Detroit Based video production company who has worked with Mike Ridley.

Primeau Productions recorded the song in 1996 at our Southfield, Michigan studio (which has since been relocated to Rochester Hills, Michigan). In addition to Mike Ridley performing on the recording, radio talk show host, author and philanthropist Mitch Albom is also performing as keyboard player.

House Bill 4263, sponsored by Rep. Frank Foster, was introduced to the House of Representatives Thursday, February 14th. You can see the official bill here.

Today Mike recorded an interview with WWJ and is expected to be a guest on The Mitch Albom Show in the near future.

Listen to ‘Michigan Man’ now!

Click here for the following wonderful lyrics:

Michigan Man by Mike Ridley

“Changing seasons paint the scene like rainbow trout in a hidden stream
Whitetail deer in the tall pine trees, I am a Michigan Man

I am I am a Michigan man ask where I’m from and I’ll show you my hands lord above I love this land, I am a Michigan Man

From the Keweenaw down to St. Joe, Kalamazoo east to Monroe, Sault Ste. Marie and back again, I am a Michigan Man

I am I am a Michigan man ask where I’m from and I’ll show you my hands lord above I love this land, I am a Michigan Man

(Native American Singing)

If I should die across the sea on a peninsula you can bury me on my head stone it should read, ‘here lies a Michigan Man’

I am I am a Michigan man ask where I’m from and I’ll show you my hands lord above I love this land, I am a Michigan Man

I am I am a Michigan man ask where I’m from and I’ll show you my hands I am I am I am by god, I am a Michigan Man

I am I am a Michigan man where sleeping bears lay on the sand, Manitou has placed his hands, I am a Michigan Man.”

 

 

photo credit: Pickups – March 7th, 2011 (66/365) via photopin (license)

production hub listingblog catalogthumbtackgoogle plustwitterlinkedinfacebookvimeo youtube