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Pro Audio Engineer looking to get involved!
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I guess that probably wasn’t the right way to word what I meant.

I just meant to say that while it’d be awesome, it’s a hilariously simple request for what would be a massive undertaking.

Well done. I will disengage self-destruct initiative.

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 (Edited)

G&G-Fan said:

What’s wrong with the mono mix?

Nothing, it’s completely good in its own right. But since every home video mix of the movie has been based off the stereo mix, the mono additions just feel weird to me. Whenever I listen to it, I feel like I’m in an alternate universe where the first Star Wars movie is just slightly different.

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danieldubb said:

Eyepainter said:

Good to have you on board, dude.

I have a fan edit of episode I that’s already been released (episodes II and III are still a work in progress), and most of my audio issues are minor. Still, any updates I can make to the edit, however small, are nice.

I’m editing on Davinci Resolve 16 in case it’s important. I’ve been able to fix most of my audio problems through crossfades and cutting out unwanted lines and sound effects (you’d be amazed how much more tolerable Jar Jar is without his sound effects). However, I’ve noticed a few instances, specifically with removed dialogue, where you can hear the audio get somewhat quieter whenever there’s a line or sound effect I’ve removed.

For example, because I’m a fan of l8wrtr’s edit of episode I, I wanted to do a similar thing in which I got rid of the sports commentators and their voices. At the beginning of the race, I tried to get rid of the line, “start your engines!” However, when I tried to remove each instance of the line through the audio channels, I realized that I was cutting out most of the audio channels. Which resulted in a very odd moment of near silence. I had to keep the quieter channels in so that the audio would sound louder, but it does seem weird that it can be heard (albeit quietly) through the rear speakers. I’d like to get rid of it entirely, but I also don’t want the audio to suddenly go quiet either. I have similar issues with the quietness of a few crossfades as well. Even when I use the +3db version (the loudest possible crossfade I have in my arsenal), there are still a few where you can hear things get quiet for a brief moment.

The only other issue I can think of is that I’m trying to work on recording an audio commentary. However, it’s turned out to be a lot harder than I expected since the sound quality happens to be really bad. I’m not sure what’s going on, but when my voice starts to go into higher pitches, the audio starts to have this weird echo-ey, ringing effect. I tried using the equalizer, but the best I can manage is to make my voice sound somewhat muffled, and even then, you can still hear the ring-y-ness anyway. Simply put, I have no idea how to fix it, and I’m kind of overwhelmed by the number of audio effects that are available. I can’t find the one that gets rid of it.

Again, I’m happy with the way my fanedit of episode I has turned out (although I’m getting a bit perfectionistic about the color grading). Still, it would be nice if I could fix those things for future updates to my edit. If you have some advice, I would love to implement it.

Hey Eyepainter

so in regards to ur audio commentary you say there is a “ringing” or buzz in ur track, this could be a result of a few things, mainly mic quality/room you are recording in/or possibly interface issues? did u try a different mic or recording device?

in regards to cutting audio out in spots like “start ur engine” the easiest way to deal with that in my opinion is take a part that has just ambient noise from the same section and just replace whatever u cut out with some abstact scene noise from another spot nearby. in the pod race scene there is a lot of ambience thru out the section… thats my first thought… if u are taking something away u have to replace that spot with other noise so u wont get the drop outs… might seem like the obvious thing to do but i believe in ur situation without doing a ton of work this would be the easiest way

if u need more advice happy to speak further

In regards to the commentary, I was afraid those problems were the cause. I live in an apartment that has a noisy wood pellet stove, and the microphone is a pretty cheap one. (only $30 on eBay.) I don’t have another mic lying around because buying another one is a lot of cash for my budget. (I did think about buying a blue yeti mic because I’ve heard good things about it, but $50 is a luxury for me.) I’ll see if I can find a different room in my apartment, and hope that changes the quality. But I have a pretty strong suspicion I got a bad mic.

I’ll take a look at your advice on finding some ambient noise, as well as HAL9000’s, and see if I come up with anything. It’s probably something as simple as copy and paste. And since my editing software is a highly professional one, there should be some feature on there I haven’t used before.

I have altered Lucas’ visions. Pray I don’t alter them any further.

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Hal 9000 said:

I guess that probably wasn’t the right way to word what I meant.

I just meant to say that while it’d be awesome, it’s a hilariously simple request for what would be a massive undertaking.

Well, at least I’m not the only one interested.

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 (Edited)

Here’s a question for ya!

Asking this here instead of a PM because I think the answer might be broadly applicable:

I’m looking to make a Japanese language track for Adywan’s ESB:R edit. I plan on keeping everything else about the track the same. Here’s what I have to work with:

  • I’m using an Adobe Premiere/Audition workflow (tho personally I’m more comfortable with Goldwave for straight-up audio-only editing).

  • I have Adywan’s ESB:R audio and a 5.1 JPN track from the R2 2015 theatrical blu-ray. I also have the 1981 stereo dub for lines like “Bring my shuttle” that got lost along the way.

How would you go about putting this track together?

I feel the best approach would be to first match the JPN track volume to Adywan’s, then swap out the ENG spots on various channels with JPN versions of those channels and adjust from there. Would you agree?

“That’s not how the Force works!”

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GMatias said:

Here’s a question for ya!

Asking this here instead of a PM because I think the answer might be broadly applicable:

I’m looking to make a Japanese language track for Adywan’s ESB:R edit. I plan on keeping everything else about the track the same. Here’s what I have to work with:

  • I’m using an Adobe Premiere/Audition workflow (tho personally I’m more comfortable with Goldwave for straight-up audio-only editing).

  • I have Adywan’s ESB:R audio and a 5.1 JPN track from the R2 2015 theatrical blu-ray. I also have the 1981 stereo dub for lines like “Bring my shuttle” that got lost along the way.

How would you go about putting this track together?

I feel the best approach would be to first match the JPN track volume to Adywan’s, then swap out the ENG spots on various channels with JPN versions of those channels and adjust from there. Would you agree?

thats def a good approach, referencing is very important and if you are able to do comparing to the swaps you want to make then it should be pretty easy to match, my only concern would be that you are using audio from different sources some being 5.1 and others being Stereo.

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I’m working my way through it now and looks like the only stereo line I’d be moving over is that “Bring my shuttle” line. So I was thinking of just splicing in one of the stereo channels for it over the center channel, with a little extra before & after since the replacement is much longer. Adywan also used the old version of the Vader/Emperor call but that looks like it would just be cutting out the new sentences from the JPN 5.1, not importing anything into it.

Beyond that, and I need to check with him about this part first, I might just get the JPN 5.1 track to sync up to the ESB:R video and then send it to Adywan for him to add on any ESB:R-specific audio tweaks (like extra laser blasts for Hoth vehicles he added). Since he’s doing the HD versions now, he may still have the audio project files saved where he can just drop the JPN base in and have the additions line up automatically. That would be a ton easier than me trying to duplicate it by hand, so to speak.

“That’s not how the Force works!”

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 (Edited)

GMatias said:

I’m looking to make a Japanese language track for Adywan’s ESB:R edit.

I feel for you in your challenge in making an audio track for ESB:R. I’ve made a recording of the ‘film-with-live-orchestra’ concert of ‘ESB’ where the cut shown to the audience was the 2011 version. I wanted to sync the concert audio to ESB:R because I wanted to check-out Adywan’s edit that I’ve heard so much about and I was bored with the 1980 and 1997 English surround-sound audio mixes.

While working on it, I found that Adywan had extended several shots in the film–the downward pan to an Imperial Star Destroyer after the opening crawl, Luke’s X-wing in the Dagobah pond. As a result, I had to stretch the concert audio in the music to match the length of those shots. I didn’t add-on any of the additional sound-effects from the ESB:R sound-mix to the re-edited concert audio, because, for me, it was all about hearing a new performance of this score with the edit I choose to watch.

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alexp120 said:

GMatias said:

I’m looking to make a Japanese language track for Adywan’s ESB:R edit.

I feel for you in your challenge in making an audio track for ESB:R. I’ve made a recording of the ‘film-with-live-orchestra’ concert of ‘ESB’ where the cut shown to the audience was the 2011 version. I wanted to sync the concert audio to ESB:R because I wanted to check-out Adywan’s edit that I’ve heard so much about and I was bored with the 1980 and 1997 English surround-sound audio mixes.

While working on it, I found that Adywan had extended several shots in the film–the downward pan to an Imperial Star Destroyer after the opening crawl, Luke’s X-wing in the Dagobah pond. As a result, I had to stretch the concert audio in the music to match the length of those shots. I didn’t add-on any of the additional sound-effects from the ESB:R sound-mix to the re-edited concert audio, because, for me, it was all about hearing a new performance of this score with the edit I choose to watch.

Yeah, those were a bit of a surprise. The irony is I remember pouring over his changelist looking for extended shots and added scenes when he was working on the edit, and now I’ve been groaning every time I see he made a timing change!

“That’s not how the Force works!”

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danieldubb, could you give me some advice or pointers? In my edit I’m working on, i need to be able to remove as much original music from the film as possible in order to rescore. Especially in action scenes. I can do a certain amount of rebuiling of the sfx but i was hoping to retain as much of the original sfx as possible. I’ve played around with multiband compressers and limiters (in davinci resolve) with a bit of luck but i dont really know what I’m doing. Any advice on how to go about this? Any helpful youtube videos you may know of?

YouTubers!
Attack of the Clones | Alternate Timeline Edit
https://originaltrilogy.com/topic/SSWRs-Attack-of-the-Clones-Alternate-Timeline-Edit/id/66888
My OLD Return of the Jedi thread. Be gentle.
https://originaltrilogy.com/topic/ROTJ-Fan-O-Matic-3-new-clips/id/7919

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SomethingStarWarsRelated said:

danieldubb, could you give me some advice or pointers? In my edit I’m working on, i need to be able to remove as much original music from the film as possible in order to rescore. Especially in action scenes. I can do a certain amount of rebuiling of the sfx but i was hoping to retain as much of the original sfx as possible. I’ve played around with multiband compressers and limiters (in davinci resolve) with a bit of luck but i dont really know what I’m doing. Any advice on how to go about this? Any helpful youtube videos you may know of?

Hey man, totally so in my opinion u have two options, the first is that a lot of these original vfx sounds can be found online as individual “hits” or sounds. u could simply find the relative sfx and fit drop it in over your new score OR there is a few methods that could yield a decent result, the multiband compressor and limiters are not gonna do it, you are better off trying to either use an “EQ” and cut the sample as short and tight as possible and try to take out some frequancies around the specific sound “guns shots” sit in differenrt frequancy ranges than lets say a string or horn instrument from the score. or your other option is to use whats called a “gate” which basically grabs sounds that surpass a specific loudness and it will cut off anything below that volume level so it might work pretty well. i think ur first option will get the cleanest result tho. hope that helps!

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Hey thanks so much for the info!

I had just recently seen a YouTube video with someone eliminating certain frequencies specifically for processing vocals and it hadn’t even dawned on me to try that for my purposes. I’ll definitely be testing out both methods. Thanks!

YouTubers!
Attack of the Clones | Alternate Timeline Edit
https://originaltrilogy.com/topic/SSWRs-Attack-of-the-Clones-Alternate-Timeline-Edit/id/66888
My OLD Return of the Jedi thread. Be gentle.
https://originaltrilogy.com/topic/ROTJ-Fan-O-Matic-3-new-clips/id/7919

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SomethingStarWarsRelated said:

Hey thanks so much for the info!

I had just recently seen a YouTube video with someone eliminating certain frequencies specifically for processing vocals and it hadn’t even dawned on me to try that for my purposes. I’ll definitely be testing out both methods. Thanks!

yes i totally forgot to mention actually… for scenes that have dialogue that has music behind it, u can try to use this https://vocalremover.org/

it may work well for that scenario for u, will only work with dialague and music tho, not sfx