Thanks Allen
As well as given me the confidence to push trying to see where this
approach would take me for a bit you've inspired me to start (yet
another) cut and paste manual for myself with some of your really
practical useable tips. I really got the idea of the relationship
between sync, reverb (accidental or otherwise), and perceived
directionality.
> Just remember that if there IS recognizable roomtone behind all the
> dialog, then it's much harder (sometimes impossible) to move things
> around, remove burps and sneezes, clip out mis-spoken phrases, etc.,
> without creating unacceptable side effects. It's hard to chop the
> dialog into "scenes" without creating boundary effects -- when the
> roomtone "cuts" we read that as a scene change, either in location or
> in time, even if the new room tone is almost the same as the old.
That's something I hadn't thought of at all. It's right the interface
between the how and the what (luckily neither are fixed in stone yet).
thanks again
Graham
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