project[1]
0344034.
BDCM
.Video & Sound Production
::project[1]
project[1]A: Audio Editing Exercise 1
todo:
- Find ambient sfx.
- Record vocal dub.
- Mush them all together.
process:
I started out scouring the far seas to find sound effects.
While searching, I found this cool website associated with envato containing tons of cool short sfx's — perfect for this minute long endeavour.
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Figure 1.1.1, Mixkit's free sound effects section, 18/9/2021 |
I managed to grab a healthy list of ambient sound effects (from various 100% legal sources):
- 3 city ambiences
- 1 restaurant ambience
- 2 leaf rustling sounds
- 1 bird chirp sounds
Before putting them into Premiere tho, I took them in FL Studio & tweaked a few things like stereo separation, as well as parametric EQ (to carve & shape the sounds). These weren't available in Premiere ¯\_(ツ)_/¯.
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Figure 1.1.2, Preprocessing step, 16/9/2021 |
After the preprocessing, I then threw it all into Premiere & did some further mixing in there.
Then it came the dubbing process. We had to follow the script:
I used Edison inside of FL Studio to record the lines into Premiere.
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Figure 1.1.3, Recording of the first line in the script, 17/9/2021 |
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Figure 1.1.4, All tracks dumped into Premiere, 18/9/2021 |
Now I admit I did go a bit overboard with the tracks, but doing it this way just made it a lot easier to digest, as different sounds could be chopped up & layered individually without all clumping together.
After I had everything arranged, panned, trimmed, etc, I rendered only the audio dub out & put it through Edison again to run it through the noise reduction function.
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Figure 1.1.5, Postprocessing step, 18/9/2021 |
NOTE: I did try Premiere's "DeNoiser", but Edison's algorithm is just plain superior in terms of sound quality.
final:
Figure 1.2.1, Final sound editing exercise 1, 18/9/2021
project[1]B: Audio Editing Exercise 2
todo:
- Shape provided sound file
process:
Here's what the original audio sounds like:
call
For this I just conformed to the tutorial & did a simple EQ cut. I did however, add a peak to emulate the typical resonance-y sound of old telephones.
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Figure 1.2.2, Effects added to sound like call, 27/10/2021 |
closet
For this one I followed the tutorial but decided to stray a little bit away when it came to the shape of the EQ. I just felt like it sounded a little more realistic, with the clothes inside dampening the high-ends completely, while leaving the main resonance frequencies of the voice piercing through.
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Figure 1.2.3, Effect added to sound like closet, 27/10/2021 |
cave
Another one by the books, with the main deviation being the longer pre-decay time (caves are large, sound take some time to hit its walls) & 0% dry-ness (as a listener from far away that's only perceiving sound bounced off the walls).
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Figure 1.2.4, Effect added to sound like cave, 27/10/2021 |
stadium
This one was weird because it's not something that is typically linked to a certain sound. For it I went with somewhere perhaps close to the ceilings & walls of the stadium, so that there's still some amount of sound bouncing off the walls while still preserving the typically dry-ish sound of an open environment.
After receiving feedback about how the stadium wasn't echoey enough, I splashed it with a little more reverb as well.
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Figure 1.2.5, Effects added to sound like stadium, 27/10/2021 |
toilet
The toilet has a signature reverb-y sound, so that's basically it here.
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Figure 1.2.6, Effects added to sound like toilet, 27/10/2021 |
feedback:
- 29/11/2021
- Stadium needs to be a bit echoey.
project[1]C: Audio Editing Exercise 3
todo:
- Add effects to various audios
process:
The original sounds in this are less relevant, just focus on the final ones (:
explosion
Here we were to "maximize" an explosion sound by layering it & manipulating it. I purposely cut back on the amount of layers & instead leaned into EQ-ing in order to get the oomph. This is to not create large phase issues, which would be especially apparent as we were synthetically stretching audio.
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Figure 1.2.7, Effect added to maximize explosion, 10/11/2021 |
punch
Here we were to create a 3 punch effect & add variation to 1 original punch sound. This one I did pretty bog standard except for adding some reverb to the last hit.
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Figure 1.2.8, Effect added to amplify last punch, 10/11/2021 |
monster
Here we were to transform some normal speech into the voice of a monster/alien. I had some fun with this, splashing on effects, abusing autotune, & stretching it all out.
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Figure 1.2.9, Effect added on the main distorted track, 10/11/2021 |
reflection:
This was a super interesting exercise. It made me be a little creative with how I hacked things together, but I was pretty satisfied with the final product. Initially finding things like the ambient sounds were challenging, as well as getting a proper environment for sound recording, but after getting into a groove things panned out eventually. The main things I learnt were the small titbits — the ability to use soft reverb for realer sounding ambient sounds, maxing out stereo enhancement to get a "behind the ear sound", & eqing soft vocals require a little more boosting at 8k. I'm sure I'll find places to use these new found hints in the future.
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