One crappy Rode mic 12 feet away from the actors in bad acoustics is not going to yield good results. You would be surprised how many films and shows use this technique these days it's not unusual for a dozen or more actors be on wireless mics in scenes. I've often said, "it's better to have a $100 mic in the right position than a $2000 mic in the wrong position."įor a lot of reasons, fast-paced TV productions often place wireless lavs on all the actors in addition to using a boom, because that way they always have a clean-sounding track they can go to. That is a huge problem that is nearly impossible to solve with processing. The microphone was way too far away from the talent. Mike Warren wrote:Okay, this is worse than I was expecting.
#Izotope rx 6 remove room tone professional
I'm doing my best but may need to seek professional help soon if I cannot fix the quality of the audio: Since I cannot attach the file (too large, apparently), I will provide a google drive link (hope that's kosher):Īgain, thanks for all the help. This is an audio file (.wav) of a couple of takes from a scene of my short film, PURGATORY. I'm including an example of the hiss hoping someone can guide me further in the right direction.
#Izotope rx 6 remove room tone how to
Now the question is how to reduce the hiss, which I believe I have mistaken for room tone, from the recordings. I think the culprit was the lack of a preamp. This truly is a learning experience for me and I appreciate all the responses. It's very, very complex, and a lot of it hinges on starting with the best possible results on set. It's fair to say that dialogue editing and cleaning up and matching dialogue is every bit as difficult as color correction or mixing music or picture editing or any other part of post. The best book on the subject of dialogue editing is John Purcell's Dialogue Editing for Motion Pictures, and he goes into great detail on how best to achieve this. The danger is that if you have the roomtone up continuously, you can wind up with double roomtone when the actor speaks. You have to be very careful at adding controlled roomtone back in. My advice would be to clean the dialogue carefully with iZotope standalone outside Resolve, then bring the cleaned tracks back in. This is what happens when you have either high levels of noise on set, or a mic not close enough to the actors, or actors who don't speak loud enough, or noisy mics, or noisy preamps, or some combination of all of these. You need to use something like iZotope Advanced to clean the dialogue first. That is pretty much the definition of what a noise gate does. Ablanco wrote:I tried using a gate and while the audible hiss is reduced in the parts of the clip before and after the dialogue, we can still hear it when the actor speaks.
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