Having worked 30+ years in this business, this is by far the best video explaining dialog editing, I can't thank you enough for the effort you put into these instructional video's....great work Thomas
I’ve worked in picture editorial for years and have never had a truly detailed understanding of HOW exactly the sound department goes about their job. This is precisely what I’ve been looking for. Thank you. Tremendously interesting and helpful video. Confirms much of what I thought I knew and also illuminates details of which I was ignorant. Some of which I think will help me turn over slightly improved tracks to sound. Thank you! Fantastic contribution to the community. Great, great series.
As a rookie, these videos really inspire me and demonstrate how much care goes into smallest of details that even a keen viewer/listener can have trouble noticing
Omg I am learning so much... I'm going to have to watch this multiple times to retain it all Thank you so much for this. I've been trying to figure out how to do all this by myself...
Having to learn on the job, I’ve never found any proper dialog edit tutorial which such detail. This really helps to correct my workflow! Thanks a lot and can’t wait for further episodes.
Great to hear. My main gripe is dialog editors who do sloppy work. So maybe the next time I get an edit session from someone who watches my videos, I will gripe less.
Thank you so much for your videos! I'm a studio engineer, but I recently took on a short low budget film production. Your videos have been a game changer, and have helped a lot with my session organization. Despite needing to consult Google for some video production terms, I love seeing your in-depth process instead of a quick tutorial that doesn't cover much. Thanks again!
Wish I had this video a few years ago when i was figuring out stuff by myself cuz theres not much info on post-production techniques out there. Thanks for sharing.
Found this really helpful. Learning by real-world examples is like gold. Thanks for taking the time to make videos for Pro Tools in Post as there's not much out there. Liked and subscribed!
This is great stuff, really appreciate that you're doing this series! One thing that occurred to me when you were creating room tone after using strip silence and dropping in the clips from the clip bin (which is VERY clever and I will definitely be stealing) is that you might be able to save some time cutting out the breaths etc. by using shuffle mode rather than manually deleting and dragging. Shuffle mode as a rule always makes me nervous but that's the beauty of the field recorder/work track in your template. Thanks again!
@@ThomasBoykin I think it is a good speed, keeps it inspiring. I will probably end up rewatching them a few times. Maybe a separate breakdown or list of your most used key commands could be helpful so they are all availible in one place. I like that you speed up the video from time to time when there is much of the same. Oh, and how do you do quick equal power or equal gain fades? Seems you access both from the keyboard. Keep it up!
I'm watching this video for the 3rd time now over the last couple of months. I'm now getting better at pro tools and the principles if Post sound that I now finally can take in all the insane short cuts and workflow hacks. This video is so information dense. It's perfect. Really hope you keep uploading
What is more amazing is the technology we have now, I remember when I started, I was amazed at the clapper or sticks, as, using that to sync, and when we got TC Nagra the world changed very different world
Great style of explanation. Have been using Protools for 15 years before finally switched to something else. For exactly the reason shown in this video. It feels like a very old PT version. Compared to the AI-editing tools in some other application (for post especially Nuendo 12) this feels like analog phone era.
I can't help to notice that on minute 28:03 you've kept some footsteps in the dialogue track. Shoudn't they be on the PFX tracks? When do we know that?
Bro has crazy good ears. How can you even catch the phase problem at 23:26? I can hear the difference after but I would've never caught it and now I want to go back to all of my films and check!
How did people learn this before TH-cam? Was there an alternative to the standard school > intern > assistant route? Did all that industry knowledge ever get shared outside?
Hey John, the way I learned was I worked in different studios. Every job I learned new things, and was able to work my way up the ladder step by step. That still holds true. The biggest hurdle is getting your foot in the door. I have some crazy stories about how far I went to get in front of people, including sneaking into buildings and some tactics to get in front of decision makers. All risks that paid off.
Subbed, you mentioned in the beginning of the video that you will touch on PFX routing in the end, but forgot about it, could you please tell us how you route your PTX track in mixing and delivery?
Thanks a lot for these videos, Thomas. I may be a little late but I wanted to ask you, how are you working on Grid mode but being able to do cuts and fades as if you were working on Slip mode? for example in 30:00
HI, I just found your videos and am now binging all of them like crazy, simply excellent stuff, thanks!! I do have a question about PFX and DX tracks: if PFX tracks end up in the MnE mix, wouldn't it be necessary to fill with roomtone on those tracks? I mean, wouldn't they stand out in the MnE mix if the roomtone on those tracks comes in and out every now and then? I hope it's not confusing. All the best!
Hey man. Curious why you have a dedicated field recorder track. I usually make all my edit tracks field recorder tracks so I can just flip to other mics if needed in place. Wondering if there's a possible negative to doing it that way.
@@ThomasBoykin Right on. It's cool you're doing these. I've wanted to do something like this but have never gotten up the motivation to set it all up. I also don't know that I have the personality to not make it feel like you're watching paint dry, lol. It's cool to see other people's workflows. There's always more to learn.
Hello Thomas thank you for your nice videos I had a question about M&E , you separate production sound from dialogue in order to feed the M & E , but How you feel the gap leave by the dialogues to match with the production sound track? Recreate the location air or BG ? Do you create it with air that match the location sound using undertone and Dialogue Match. Or using recordes silence for the location. And when do you proceed to this ? At what stage of the production. Thank you Louis
when you used auto-align - you put the boom in the work track and did it - however it's the lav that was fixed - did you select it- think I missed something... thank you
so I have this very deep question... please bare with me... its more than just one question, its an entire process dilemma which has bothering me for a long time and I never really know where to address this specific aspect. maybe you can share your thoughts on this. (you might cover this later on in the mixing stage, sorry if might sound crazy on what i'm writing)... to sum it up. i'm having some issues in understanding when to use the clip gain versus the track/bus volume. so, i followed the video, at the beginning you mentioned that your target is -27LUFS (cinema standard) at that moment during the session, the loudness meter is -21dB LUFS (considered hot). looking at the timeline, all fader levels are at unity, also all audio clips are at 0 unity. to simplify things, let's say we are hearing the original gain set by the recordist on set. since the dialogue is rounded now at -21dBLUFS, my instinct would have been to readjust the clip gain now and then, to lower some dB to obtain maybe -23dB, or why not, lower gain to reach -27dB LUFS in your preferred case. From this new set level (-27), processing would happen (eq/compression/saturation/reverb). Im confused in general, not about your video, but in regards to what people write online. Should we be working in this context at -21dB, do all of the processing (eq/compression/reverb/saturation) and only at the end adjust dialogue bus level to aim -27dB LUFS? i think i'm lacking the correct gain stage discipline, the overall vertical approach used in mixing, but i'm desperate to learn more about it. any feedback would be super helpful. love your videos. thank you
This is a great question. Every scene is different. So if you have a whispered line or entire scene, it does not need to be -27. The same goes for a yelling scene. It can be quite loud. The important thing is that over the duration of either the program (film) or segment (TV) that the dialog levels average out to hit the spec. This scene I was lucky that they were recorded at almost the perfect level. But other scenes may need global adjustment. In an ideal scenario, the tracks are clip gained close to mix level during the edit. This will keep things like room tone shifts audible. It also makes the gain staging easier during the mix, as certain plugins work best with certain amounts of signal hitting them (compressors and noise reduction for example). The best way to get your tracks in the pocket for levels is to play them on big speakers. It is difficult to clip gain on headphones. Have a meter up like Youlean, and make sure the entire program is close to the spec. Depending on the medium, individual scenes may deviate anywhere from 2-20dB off this spec! But that decision is best left to the mix.
Do you mark the scenes: scene 1, scene 2 etc? Or, is time code for editing sound sufficient? Just curious about editing something bigger. Or, do you do both? Very interesting video.
I love the cleanliness of 6 A DX tracks and 6 B DX tracks... but what if you have many people in a scene -- so there's boom A through E or whatever, plus 4 or 5 lavs? How do you lay that out? Do you add more tracks? Or steal from the other 6?
This is insightful, though I think some of the abrupt cuts in the audio were intentional between scenes of the two rooms and the interplay of dialogue over the phone; and fading those audios removed a bit of the tension that those abrupt back and forth changes make. So, can you say that some audio should not be faded into between speakers?
Hey, I've got a question regarding PFX. Is it usual to leave little sounds like footsteps and cloth rustle from production audio in DX tracks or are they usually moved to PFX? I've noticed that you leave them in DX, but have seen people move pretty much everything besides dialogue to PFX - including footstep and cloth rustle, if it's outside of the lines.
I heard in a podcast that you could totally make dialogue as clear as possible and get rid of all noise and room tone. Is this also right way to do it?
If you want over processed, lifeless, artifact-laden dialog then yes. But I don’t like that sound on my projects. I think a lot of people fear noise, so they try to get rid of it. But with every decision you have to ask if it’s actually making it better, or just different.
Thanks for the tutorials! I would like to ask what do you do if the AAF files weren't named by shot? If there's a great amount of production sound like that, do you still organize them by shot sizes?
What would be the best workflow for a series or an episode based sitcom? I have been looking for this, since am a newbie and am thrilled I got to find it, keep up the good work. I will keep on scavenging through your videos. I will love to get some tips from you 🙏 Thank you
Should be the same as I have outlined in the rest of my videos. Sitcoms may not do Foley but the big ones do. You will need to sweeten the audience mics a bit to make jokes land and also be mindful of act breaks. The network will have the specs but generally -24LUFS and -2 Peak is standard for US productions.
On the track layout segment, you mentioned that A_DX was chosen for all the wide shots. B, C for the respective actors; doesn't this go against what you prefer - where ideally you have person A on one track as much as possible? Also if A_DX was reserved for wideshots and you have two or more actors on that one track, would it not make it more difficult for you to mix later?
Thanks for asking! I would be open to the possibility of doing this. I have a signup link on some of my videos or you can send me your info and I will let you know if/when I can do in person training.
Having worked 30+ years in this business, this is by far the best video explaining dialog editing, I can't thank you enough for the effort you put into these instructional video's....great work Thomas
As a production sound mixer I have tried to explain to my clients what a dialog editor does. From now on I will send them this video.
I’ve worked in picture editorial for years and have never had a truly detailed understanding of HOW exactly the sound department goes about their job. This is precisely what I’ve been looking for. Thank you. Tremendously interesting and helpful video. Confirms much of what I thought I knew and also illuminates details of which I was ignorant. Some of which I think will help me turn over slightly improved tracks to sound. Thank you! Fantastic contribution to the community. Great, great series.
Glad to help a fellow screen zombie out!
As a rookie, these videos really inspire me and demonstrate how much care goes into smallest of details that even a keen viewer/listener can have trouble noticing
You’ll notice that with lots of different things! Pros really give their work a lot of thought
speechless! stuff which no one shows you for years and years
Omg I am learning so much... I'm going to have to watch this multiple times to retain it all
Thank you so much for this. I've been trying to figure out how to do all this by myself...
Of course! If you have any specific questions feel free to ask
I learned more in this 45 min tutorial, than 3 years of college. Thank you so much
Having to learn on the job, I’ve never found any proper dialog edit tutorial which such detail. This really helps to correct my workflow! Thanks a lot and can’t wait for further episodes.
Great to hear. My main gripe is dialog editors who do sloppy work. So maybe the next time I get an edit session from someone who watches my videos, I will gripe less.
Timeline Drop Order > Left to Right is such a time-saver!! Thanks for making this video!
This might be the most genius video I've ever watched.
Thank you so much for your videos! I'm a studio engineer, but I recently took on a short low budget film production. Your videos have been a game changer, and have helped a lot with my session organization. Despite needing to consult Google for some video production terms, I love seeing your in-depth process instead of a quick tutorial that doesn't cover much. Thanks again!
Yep this is the real deal workflow. Been doing audio post for years and still learned some great tricks :))
Wish I had this video a few years ago when i was figuring out stuff by myself cuz theres not much info on post-production techniques out there. Thanks for sharing.
I guess I'm kinda off topic but do anyone know of a good website to stream new tv shows online?
@Keagan Silas Try FlixZone. Just google for it =)
Found this really helpful. Learning by real-world examples is like gold. Thanks for taking the time to make videos for Pro Tools in Post as there's not much out there. Liked and subscribed!
This is great stuff, really appreciate that you're doing this series! One thing that occurred to me when you were creating room tone after using strip silence and dropping in the clips from the clip bin (which is VERY clever and I will definitely be stealing) is that you might be able to save some time cutting out the breaths etc. by using shuffle mode rather than manually deleting and dragging. Shuffle mode as a rule always makes me nervous but that's the beauty of the field recorder/work track in your template. Thanks again!
That’s a great idea. I’ve done that in the past but forgot about it
Your killing it! The speed of the edits and the subtle liveliness added is next level. Gotta take notes of some of those short cuts
Thank you for the kind words. Let me know if it’s too fast to keep up. Kinda hard for me to tell
@@ThomasBoykin I think it is a good speed, keeps it inspiring. I will probably end up rewatching them a few times. Maybe a separate breakdown or list of your most used key commands could be helpful so they are all availible in one place. I like that you speed up the video from time to time when there is much of the same. Oh, and how do you do quick equal power or equal gain fades? Seems you access both from the keyboard. Keep it up!
OMG! That extract silence trick is sooooo awesome and helpful! How have I never used this! Thank you for doing these!
I honestly think that your videos are the best ones, cause you explain all the details, through pratical demonstration,so thank you for these lessons
I'm watching this video for the 3rd time now over the last couple of months.
I'm now getting better at pro tools and the principles if Post sound that I now finally can take in all the insane short cuts and workflow hacks.
This video is so information dense.
It's perfect. Really hope you keep uploading
I'm from China, your video give me more help and enlighten. Thank you very much!
Hi Thomas, thank you for this. I don't get what's the shortcut to nudge move the fade for 1 frame.
love the sound effects when you speed up ahahah
The Space Clips feature is a new/improved way to push all the clips together after using Extract. Just set the spacing to zero.
What is more amazing is the technology we have now, I remember when I started, I was amazed at the clapper or sticks, as, using that to sync, and when we got TC Nagra the world changed very different world
Awesome work, thats the very best video for post production i´ve every found, even better than in universary back than
Great style of explanation. Have been using Protools for 15 years before finally switched to something else. For exactly the reason shown in this video. It feels like a very old PT version. Compared to the AI-editing tools in some other application (for post especially Nuendo 12) this feels like analog phone era.
Always really cool to see someone elses process
I can't tell you how much I value this video! Keep em coming!
Jealous that those recordings were nice and healthy. My current film is clip gained sometimes +20dB!!!
I can't help to notice that on minute 28:03 you've kept some footsteps in the dialogue track. Shoudn't they be on the PFX tracks? When do we know that?
If it’s easy to cut out, do it. Otherwise it can stay in dialogue till you do the mne
@@ThomasBoykin do you do a separate edit/mix on a full m&e mix? i noticed that you kept pfx sounds like an ash tray hit around 40:00 mark
Bro has crazy good ears. How can you even catch the phase problem at 23:26? I can hear the difference after but I would've never caught it and now I want to go back to all of my films and check!
How did people learn this before TH-cam? Was there an alternative to the standard school > intern > assistant route? Did all that industry knowledge ever get shared outside?
Hey John, the way I learned was I worked in different studios. Every job I learned new things, and was able to work my way up the ladder step by step. That still holds true. The biggest hurdle is getting your foot in the door. I have some crazy stories about how far I went to get in front of people, including sneaking into buildings and some tactics to get in front of decision makers. All risks that paid off.
Subbed, you mentioned in the beginning of the video that you will touch on PFX routing in the end, but forgot about it, could you please tell us how you route your PTX track in mixing and delivery?
Oops, sorry! Yes I have a pfx aux in my template now that routes to my sfx aux. that way it goes to my MnE and sfx stems.
@@ThomasBoykin and do you route ptx which are foley sound to foley stem too, right? Thanks for your prompt reply.
Wow you know protools shortcuts very well, maybe you could make a video about most useful keyboard shortcuts for protools please?
This is a good idea. But for now here is a link to a Sweetwater article: www.sweetwater.com/insync/28-best-pro-tools-shortcuts-you-should-know/
42:35 How do you do equal power fade simultaneously on two different clips?
Thanks a lot for these videos, Thomas. I may be a little late but I wanted to ask you, how are you working on Grid mode but being able to do cuts and fades as if you were working on Slip mode? for example in 30:00
CMD modifier
@@ThomasBoykinhi, thanks for your response!
HI, I just found your videos and am now binging all of them like crazy, simply excellent stuff, thanks!! I do have a question about PFX and DX tracks: if PFX tracks end up in the MnE mix, wouldn't it be necessary to fill with roomtone on those tracks? I mean, wouldn't they stand out in the MnE mix if the roomtone on those tracks comes in and out every now and then? I hope it's not confusing. All the best!
If you mix it right the pfx won’t stick out. But also you should have MnE fill that matches the dialog ambience you help.
Great work! Really appreciate. Lots of super cool tricks here.
Thank you man! Exactly the content i need to see. I hope you continue making these episodes.
I will do my best
Please one Tutorial on Outdoor Location Scene .Thank you For the videos. Its really helps
Awesome! Looking forward to the next episode. Thanks for sharing with us.
You're the best for doing this, great tutorial!
I appreciate that
This series is so good. Thank you so much!
Wow thanks a lot Tom. Loving these tutorials
Thanks Mani, hope it helps you in some way.
I love this, i need see more tutorials you are amazing
wow !! amazing tutorial!! Good Job
It was really wonderful
Hey man. Curious why you have a dedicated field recorder track. I usually make all my edit tracks field recorder tracks so I can just flip to other mics if needed in place. Wondering if there's a possible negative to doing it that way.
No reason, just shithouse ways. I like your approach and might try it on the next show.
@@ThomasBoykin Right on. It's cool you're doing these. I've wanted to do something like this but have never gotten up the motivation to set it all up. I also don't know that I have the personality to not make it feel like you're watching paint dry, lol. It's cool to see other people's workflows. There's always more to learn.
Hello Thomas thank you for your nice videos
I had a question about M&E , you separate production sound from dialogue in order to feed the M & E , but How you feel the gap leave by the dialogues to match with the production sound track? Recreate the location air or BG ? Do you create it with air that match the location sound using undertone and Dialogue Match. Or using recordes silence for the location. And when do you proceed to this ? At what stage of the production.
Thank you
Louis
I usually do it after the mix, and will noise reduce pfx if needed to blend in with the sfx
Very helpful video!
Keep on the good work!
Ooooooooo cool trick for room tone!
when you used auto-align - you put the boom in the work track and did it - however it's the lav that was fixed - did you select it- think I missed something... thank you
Yes I use the boom as the guide to align the lavs
so I have this very deep question... please bare with me... its more than just one question, its an entire process dilemma which has bothering me for a long time and I never really know where to address this specific aspect. maybe you can share your thoughts on this.
(you might cover this later on in the mixing stage, sorry if might sound crazy on what i'm writing)...
to sum it up. i'm having some issues in understanding when to use the clip gain versus the track/bus volume.
so, i followed the video, at the beginning you mentioned that your target is -27LUFS (cinema standard)
at that moment during the session, the loudness meter is -21dB LUFS (considered hot). looking at the timeline,
all fader levels are at unity, also all audio clips are at 0 unity. to simplify things, let's say we are hearing the original gain set by the recordist on set.
since the dialogue is rounded now at -21dBLUFS, my instinct would have been to readjust the clip gain now and then, to lower some dB to obtain maybe -23dB, or why not, lower gain to reach -27dB LUFS in your preferred case.
From this new set level (-27), processing would happen (eq/compression/saturation/reverb).
Im confused in general, not about your video, but in regards to what people write online.
Should we be working in this context at -21dB, do all of the processing (eq/compression/reverb/saturation) and only at the end adjust dialogue bus level to aim -27dB LUFS?
i think i'm lacking the correct gain stage discipline, the overall vertical approach used in mixing, but i'm desperate to learn more about it. any feedback would be super helpful.
love your videos.
thank you
This is a great question. Every scene is different. So if you have a whispered line or entire scene, it does not need to be -27. The same goes for a yelling scene. It can be quite loud. The important thing is that over the duration of either the program (film) or segment (TV) that the dialog levels average out to hit the spec. This scene I was lucky that they were recorded at almost the perfect level. But other scenes may need global adjustment.
In an ideal scenario, the tracks are clip gained close to mix level during the edit. This will keep things like room tone shifts audible. It also makes the gain staging easier during the mix, as certain plugins work best with certain amounts of signal hitting them (compressors and noise reduction for example).
The best way to get your tracks in the pocket for levels is to play them on big speakers. It is difficult to clip gain on headphones. Have a meter up like Youlean, and make sure the entire program is close to the spec. Depending on the medium, individual scenes may deviate anywhere from 2-20dB off this spec! But that decision is best left to the mix.
@@ThomasBoykin Thank you so much! All my eyes and ears are on you!
Do you mark the scenes: scene 1, scene 2 etc? Or, is time code for editing sound sufficient? Just curious about editing something bigger. Or, do you do both? Very interesting video.
I usually name them the scene number in the script or audio file.
Can you crate a video on the matching field recordings menu. Never really used that feature or how to setup. Thanks
Where do I go to learn how to do this? This is super cool.
You're literally looking at it haha
I love the cleanliness of 6 A DX tracks and 6 B DX tracks... but what if you have many people in a scene -- so there's boom A through E or whatever, plus 4 or 5 lavs? How do you lay that out? Do you add more tracks? Or steal from the other 6?
Add more tracks based on the project’s needs
Awesome. Thank you.
This is insightful, though I think some of the abrupt cuts in the audio were intentional between scenes of the two rooms and the interplay of dialogue over the phone; and fading those audios removed a bit of the tension that those abrupt back and forth changes make. So, can you say that some audio should not be faded into between speakers?
Whatever works for the scene and film, do it
Hey, I've got a question regarding PFX. Is it usual to leave little sounds like footsteps and cloth rustle from production audio in DX tracks or are they usually moved to PFX? I've noticed that you leave them in DX, but have seen people move pretty much everything besides dialogue to PFX - including footstep and cloth rustle, if it's outside of the lines.
Depends on the mixer. If it’s a big sound I move it. But if it messes with the flow of the edit I leave it on dx tracks.
This is mind-blowing ♥️♥️♥️😍😍
I heard in a podcast that you could totally make dialogue as clear as possible and get rid of all noise and room tone. Is this also right way to do it?
If you want over processed, lifeless, artifact-laden dialog then yes. But I don’t like that sound on my projects. I think a lot of people fear noise, so they try to get rid of it. But with every decision you have to ask if it’s actually making it better, or just different.
@@ThomasBoykin but wouldn't be ok when you add amb and efx later on?
Removing all of the noise also removes some of the good tone in the dialog. It’s like peeling a potato with a butcher knife.
@@ThomasBoykin wow great example. Thanks a lot.😃
Thanks for the tutorials! I would like to ask what do you do if the AAF files weren't named by shot? If there's a great amount of production sound like that, do you still organize them by shot sizes?
Yes
What would be the best workflow for a series or an episode based sitcom?
I have been looking for this, since am a newbie and am thrilled I got to find it, keep up the good work. I will keep on scavenging through your videos. I will love to get some tips from you 🙏
Thank you
Should be the same as I have outlined in the rest of my videos. Sitcoms may not do Foley but the big ones do. You will need to sweeten the audience mics a bit to make jokes land and also be mindful of act breaks. The network will have the specs but generally -24LUFS and -2 Peak is standard for US productions.
@Thomas Boykin What does A Dial , B Dial and C Dial mean on your tracks?
To checkerboard scenes
@ThomasBoykin so Track A, B , C etc are all separated scenes per group of tracks correct?
Can You write down the shortcutts on this video😊
On the track layout segment, you mentioned that A_DX was chosen for all the wide shots. B, C for the respective actors; doesn't this go against what you prefer - where ideally you have person A on one track as much as possible? Also if A_DX was reserved for wideshots and you have two or more actors on that one track, would it not make it more difficult for you to mix later?
For booms I split by shot, lavs by character.
@@ThomasBoykin thanks for the reply!
Do you know what boom mic was being used?
Sennheiser 416
@@ThomasBoykin Sounds pretty clear to be a boom! I have the MKE600 which is a cheaper version but someday I would want to purchase it
This is a gem !
Is there a shortcut to change crossfade and fades from equal gain to equal power?
I'm wondering what you use for your main headphones when film mixing for these clinical cleanups?
I usually mix on JBL speakers but I use a set of Beyerdynamic DT880 Pro 250ohm for headphones
What codec did you use when importing the video?
I don’t remember. Probably h264 unfortunately
Very good video, thanks for sharing, hope to have more movie mixing tutorials, I want more learning. Thanks @Thomas Boykin
any thoughts on dividing mics by character instead of dividing by angle ? I do this especially with the lavs
I do character for lav and angle for boom
I wonder if we'll see videos on sfx 🙊 BTW this video is 👌🏼
Where can I download a scene like this with the audio so I can practice doing something like this and even make a demo reel?
Anyone knows of a book on where to start and stop scores, music, drones, etc? Thanks
This is amazing!!!! Thank you
Where can I get started. I have a degree in audio engineering. Just need practice film
Short films are good to practice
What is M and E?
Music and effects track for foreign dubbing
Which software
Pro Tools
Thank you!
You really should write a book ✌️😂
Nah, there's already a great book on dialog editing.
@@ThomasBoykin Its a much richer and more pleasurable learning experience watching your videos, well done - no need for a book!
any chance you would share your million dollar room tone air movement with us?
really have trouble finding just quiet subtle air movement without noise.
also, do check out audiokids undertone, i think you would love it! and give davide my greetings ;)
I don’t share my library. But it’s not hard to make your own room tone!
Nice!
I want to learn mixing with you. Do you accept students?
Thanks for asking! I would be open to the possibility of doing this. I have a signup link on some of my videos or you can send me your info and I will let you know if/when I can do in person training.
@@ThomasBoykin I have left my email message on your website, but no one has contacted me.
Can you email me directly please, I don’t see your message- thomas.boykin.audio.post@gmail.com.
"Sign my check."
🤣
Hi Thomas. Thank you very much for this video. How is your instagram?
instagram.com/tomboykinmix/
Do dialog editors always use the room tone from the takes or they also use sample libraries of room tones?
Good ones use the RT from takes
Shortcut to show frame bars in timeline?