given that we have trillions of already recorded sound clips from car crashes to waves crashing on beaches, does that make the role of a foley recording dead

re. not saying mixing is dead but the act of going out and recording foley sounds itself given the industry has already recorded every concievable element

Hello,

I am an independent filmmaker based in Singapore. And I am looking for a dedicated Sound Editor & Sound Designer who is available or willing to collaborate on an independent feature project remotely. Sound and music play a significant role in my film.

I had made a similar post sometime back, but I believe was I wasn't clear on the requirements. My sincere apologies. I am totally aware that a DAW like Pro Tools or Nuendo will be in the process during the final 5.1 mixes and mastering. I am all for it.

But during the intermediate stage of picture editing, my choice of NLE is Final Cut Pro. Hence, I am looking for a Sound Editor & Sound Designer who is also very familiar with FCP, especially someone who is very familiar with roles in FCP, clip connections, etc. So my workflow is a little unique and unorthodox. The workflow would be: I would be sending a completed scene sequence to the sound editor/designer; he/she would add/edit layers of sound beds and elements for each scene in FCP while I work on other scene sequences.

We would be exchanging back and forth to finesse and polish each sequence. Ultimately, once completed, I would merge all the sequences into one single master sequence and prepare it for picture lock for the final mix and mastering for both audio (Pro Tools) and colour (Resolve). I hope I am making sense.

I am also aware that the chances of an audio person being familiar with FCP is pretty low or rare. However, I am trying my best to reach out!

It will be an honour if you have a prior feature or TV projects to your credit.

If you are open and interested in collaboration, please DM me. Thank you!

What's the last piece of gear you bought for your studio?

Did it get you a new client or project? Did it allow you to raise your rate and earn more money?

If we are honest, I think the answer is usually no.

Why don't we invest in our education to be better at our craft and business like we do in our gear???

Hello! So I am going to try this...

I am looking to learn and network! If you need an assistant or intern, I am here!

Hard working, eager to learn, easy to get along with!

Skills:

• Pro Tools Certified

• Interned at Post Facilities and ISDN Voiceover Studios

• Freelance editor/designer with work credits in indie films and a AAA video games

• Worked for years in Live Sound

No task too small!

Thanks for reading!

Couple Questions here - I was unable to find the answers

Now that youtube did away with the audio checker to see if a song would get blocked - Is there a different way to check songs to see if they will still play in the background or get muted. I just have a small YT page (< 100 subs) so I'm not too worried about ad rev going to the artists.

Second question - I currently have artlist - but I was wondering if there is a place to search your artist to see if they are on a certain music platform like a music bed or soundstripe. Or is there a place to go to license songs by some what popular artists (KB - NF - Zayde Wolf - Sam Tinnesz for YT)

Hi everyone, I’m looking for some help because I have a big doubt about how to start producing 5.1 sound. (Don’t laugh, but) I have a pair of headphones that can capture certain frequencies, and I edit in stereo using Audition. I can simulate 5.1 through stereo panning, but when I try to listen to channels like LS, RS, or the subwoofer, I can’t hear them. It seems like it’s just simulating stereo, and when I try to send the sound to the back, it just lowers the volume. When I play 5.1 videos on *YT, I can notice something, but I’m not sure if it’s real 5.1.

So, I’m looking for help — can someone give me a step-by-step guide and tell me what equipment I should buy? I already use ASIO as my driver, but I’m not sure if it’s useful for this. I don’t use studio monitors, and I don’t know if I have the right gear.

I’d love to talk privately with someone more experienced, please.

thank you!!

Feel like I’m going mad here. I’m really hoping to get some backup on this. As a Dialogue and ADR editor, I’ve been amazed at the amount of professionals around me who believe recording at a higher sampling rate will mean less artefacts when time- stretching. Unless my education was absolute nonsense (I realise this isn’t impossible) then this makes no sense at all. This is not how audio sampling works. If I hear another person claim “higher resolution is like increasing pixels in an image”…. No it isn’t. It’s nothing like that. Sure, if you use a fancy mic and converter that can capture frequencies above 20k, then you’ll get more info when pitch-shifting, but time-stretching? Makes no sense. There’s is no additional resolution from having more sampling points. Only the ability capture higher frequencies. Math. I shall now cross my fingers and hope some people agree.

Hi guys. My wife heard the sound at 4:38/4:40 and laughed her ass off. I’m normally pretty good about finding the right words to describe it, and then slowly narrowing down the specific sound, but this escapes me.

Anyone know what this was called or have a source?

Thanks in advance.

https://youtu.be/xu5KBvBazN8

First of all, if this is not the best subreddit to post this in, please let me know.

I'm helping a friend who works for a small production company. The company just finished editing a 10-minute sci-fi film, and now they need a sound designer who has experience with action-adventure/sci-fi sounds, as well as creating sounds for live action films.

This particular job is unpaid; however, the company has several larger projects (with bigger budgets!) planned for the future, so if you're looking to make some solid connections, this is a great opportunity. They like to reuse the same people for many of their projects.

PM me if you're in the tri-state area and are interested (include links to your work, if you have any!). If you know someone who might be interested, PM me their email. Thanks!

EDIT: otdq and Torontoish both bring up excellent points: working for free sucks, and it's always good to be wary so no one takes advantage of you. However, speaking from personal experience, it can also be the best way towards building a career (I mean, look at the whole concept of interning.) Some of the best jobs I've ever gotten were through connections I made doing work for free.

I believe this project is an excellent opportunity for anyone looking to make connections and expand their body of work (perhaps I should have specified, but this is perfect for students/recent grads). A question I would ask me, if I were you, is: What is the quality of the film this production company has produced? What production company is it? Who works there? You, as the artist, want confirmation that the final project will be excellent quality, so you can point future potential employers to it. So, as I said before, send me a PM if you're interested. If, after knowing all the details, you're not interested, that is fine. But there's no reason to blow me out of the water without knowing all the facts.

EDIT 2: Here's the 2011 show reel for the production company, Rubic House.

Hello,

I am an independent filmmaker based in Singapore. And I am looking for a dedicated Sound Editor & Sound Designer based in LA who is available or willing to collaborating on an independent feature project remotely.

It will be an honour if you have prior feature films to your credit.

If you are interested, please DM me.

Thank you!

I DON"T HAVE THE OPTION OF TAKING IT BACK TO FINAL MIX!!!!

I am an online editor and I received the mix and stems for a broadcast network show. 12 tracks. Track 1 and 2 are the stereo mix. The track 1 is mono (stereo left) and track 2 is mono (stereo right). I suppose someone at the network will pan the tracks left and right to get it back to stereo. (this is according to their technical document)

The network uses audition to check for loudness (LUFS) which should be -24. I used audition to check the loudnes and true peak -2, and it shows as -27 on track 1 and -27 on track 2.

Is this the right way to check for loudness? as 2 separate tracks?

Track 5 is only dialogue as a mono track. the loudness on this track is also around -27 lufs.

Even if I am measuring track 1 and 2 incorrectly shouldn't the dialogue track also be mixed to -24 lufs. I understand that the rest of the tracks like music and fx etc.can't be measured for loudness.

Let's assume I am correct in how I am measuring the loudness, In Audition I can fix the loudness to -24 lufs and -2 true peak on track 1,2 and 5 (there is also mix minus narration that will have to be fixed.) Is this how I should do it?

I've been having a problem, where if I don't record all of my audio in one take, it doesn't sound quite right. So do other people just have to record their audio in one take?

Update: The Problem is mostly solved now. I was using Audacity to record my audio, and when I applied filters to my different takes, it made some parts sound more muffled than others. Using a multiband compressor in Premiere Pro dealt with that. But now I just record directly in Premiere Pro, which is so much easier than how I was doing things before.

There is a video on youtube which works great with my soundbar and subwoofer

https://www.youtube.com/watch?v=xz-8OFcSUqE&t=29919s

I can only hear most of it on my subwoofer witch is what I need.

I need to do the same but with a chair dragging sound like this:

https://freesound.org/people/dbspin/sounds/211817/

I'm a bit familiar with audition and premiere pro, I tried a few tutorial but nothing works so far. can somebody help me to archive this. or at least point me in the right direction?

Hello, I am planning to replace my current laptop for a better one. The current one I have is pretty out dated, it is a machine from 2011/2012 with 6 gb of ram, a an intel i5 gen2 processor and a 1 tb hdd. I have a few options to choose from: 1: 16 gb ram, intel i5 11400H, 512 gb ssd, nvidia gphorse rtx 350 graphics card. 2: 32 gb ram, 512 gb ssd+ 1 tb hdd, and intel i5 1135G7 3: 32 gb ram, 1 tb ssd+ 1 tb ssd, and intel i5 1135G7 4: 32 GB ram, AMD ryzen 5825U, 1 tb ssd and lastly, 5: 32 gb ram, 1 tb 512 gb ssd+hdd and intel i5 1235U

The reason I put the nvidia card in the first slot is that some audio softwares started to use GPU. Is it worth the investment? or am I better going without a laptop without a GPU? The other 4 configs are diferent teer of processors and storage on top of the 32 gb ram. I am not sure what to do so wanted to ask the experts. For a while, this will be a computer I will have to stick with so I need to buy the best one possible. Thanks in advance

https://www.amazon.co.uk/Condenser-Microphone-MAONO-Professional-Broadcasting/dp/B083NRB3DX/ref=sr_1_6?dchild=1&geniuslink=true&keywords=maono+microphone+kit&qid=1632518067&sr=8-6

Hi guys.

Audio Noob here.

May I ask if anyone has a Simple and Cheap solution for:

Getting audio using only 3.5mm jacks from 2 sources (PC + Tablet), being able to regulate audio volume from both seperately, but also being able to pass Microphone audio back to the tablet and to the HD60 S+ and the audio from the Tablet to HD60 S+ as well .... all for and from just 1 headset ?

Also, I've tried to use two 3.5mm Spliters and it seems that somewhere there needs to be a DAC to make audio loud and clear, 'cause 1 source was way too low.