![]() ![]() Many brick wall limiters, however, incur unacceptable latency.įortunately for you, Neutron 3 has a built-in limiter that will only add a maximum of 2.5 ms of latency, which will not necessitate moving vocals around in the arrange window to compensate-it should all just work. Unfortunately, sometimes things are going to distort unless you limit them. When it comes to post, you have to keep two things in mind: never, ever incur unwanted distortion, and don’t mess up the sync. Use The Low-Latency Limiter To Protect Against Clipping Without Messing Up The Sync In many cases, it can feel more natural than using the pan pots. ![]() You'll usually want to keep your dialogue in the middle, but if you have sound effects whooshing through the stereo field-bullets flying, cars driving by, footsteps moving from left to right, etc.-you can use the Visual Mixer to automate or plot out these panning decisions. We talk about using the Visual Mixer to pan mixes all the time-but you can also use it to pan elements in scenes, especially if you’re an innately visual person! Use The Visual Mixer To Pan Elements In A Scene It really helped get the ambience out of a poorly recorded bit of ADR dialogue so I could place it in the scene later. Here’s a setting I just used on a project: We don’t want to bring anything out, so much as tamp the room down. Just don’t touch Attack that’s not the parameter you usually need to tweak in this situation. Also, experiment with the modes and shapes-listen to Precise, Balanced, and Loose, and futz with Sharp, Medium, and Smooth. You want to edge it back until you’ve tamed the room. Once you have your crossovers set, the Sustain slider is the main parameter you’re messing with. You may want to bring up the Sustain slider when you’re starting out doing this-it will help you really hone in on the horrid sound. Solo within the crossover points and drag them around till you really hear the offensive frequencies. You’ll usually find these unwanted reflections in the midrange and high mids. This can be challenging, but you can use an EQ if you like to boost, sweep, and seek it out. When using the Transient Shaper in post, the key is to locate the frequency area of the troubling room reflections. I happen to think the multiband Transient Shaper in Neutron is the best in the business for this application. We think of this tool as something to make drums more punchy, but post people have been using transient shapers as gates for years. The problem lies within the vocal itself. You can’t just run a de-noiser, because that’s not the issue. Sometimes you need to compress a vocal to ensure every word is heard, but when you do, you notice something horrendous: you’ve brought up the room reflections-not the background ambience, but the quality of the room itself, made all too prominent inside the vocal. Use The Multiband Transient Shaper As An Inline De-reverb Tool Sometimes it’s better to use Track Enhance, which happens to include a dialogue setting.ģ. Also, during particularly gruelling tracking sessions, your ears can get more and more fatigued. Now, by all means, you can dynamically notch each actor in each scene individually, but that time can pile up. You’re also going to notice that you have different pesky resonances for every actor in every scene! In any scenario, you’re probably going to notice some pesky resonances in the voice that you’ll have to notch-at least, I always do. On the set, audio from an actor is generally recorded from a boom mic held above their head, a lapel mic pinned to their clothes, or both. Here's how this works well in post-production: Why is this feature so great? It’s going to take your exact audio into account and try to make it sound the best that it can. Within Mix Assistant in Neutron 3 Advanced, there’s a great little feature called Track Enhance, which creates custom presets for your audio. Let’s dive right into it and show off six tips for using Neutron 3 for post-production. The tools in Neutron are designed so that they can be transparent in timbre, which is perfect for post-production. In this article, iZotope contributor Nick Messitte demonstrates how Neutron can be an excellent companion during the post-production process when mixing sound for film, television, and other viewable media. ![]()
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