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Posted by on Jun 9, 2015 | 1 comment

Sweet Justice: Sweetman’s Sweet Spot

In the most recent blog post over at Sweet Justice, sound designer Chris Sweetman shares some of his decades of experience, and discusses the importance of experimentation and the use of organic sounds in modern sound design. He also discusses some of his experiences on major films, as well as his approach to tools like Izotope Iris. Head over to their blog to check it out now!

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Posted by on Mar 31, 2014 | 0 comments

The Hybrid Animal Sound Design Competition

The Hybrid Animal Sound Design Competition

No matter how deep your interest in animal husbandry may be, you’re probably never going to figure out what the spawn of a camel and a mollusk might sound like. Or will you? Interested sound designers still have a little more than a week left to enter the Hybrid Animal Sound Design Competition, where the creation from scratch of a brand new animal call could net a share of $6,000 worth of prizes from Pro Sound Effects, Avid, iZotope, Rode, and Ric Viers. The deadline for entries is Tuesday, April 8th. Check out the rules, restrictions, and other details over at the Pro Sound Effects Blog.

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Posted by on Nov 25, 2013 | 10 comments

The Dialog Re-Assign Workflow

02_Complete Setup

My first exposure to noise reduction processing was with Waves X-Noise, working clip-by-clip, finding a snippet of noise in the clear, setting the noise profile, then processing the clip before moving to the next one. This offline processing method, while effective, would end up taking a lot of time, especially on long-form projects. Similarly, if you had a processed clip that needed its noise reduction altered, you would have to restore the un-processed version, find the noise print again, re-adjust the parameters, and then re-process it. When time is short (and when isn’t it?), real-time processes begin to look like a much better option. Unfortunately, plugins like X-Noise or iZotope RX Denoiser can’t be used effectively in real-time due to the enormous amounts of processing overhead required and the unmanageable latency added to the signal. With plugins like the new RX 3 Dialog Denoiser and Wave’s WNS and W43, real-time noise processing without expensive hardware is feasible, but it requires a change in workflow to utilize effectively. As I found once I started using the RX 3 Dialog Denoiser, putting one per dialog track was an inefficient use of CPU resources, and simply putting an instance on the main dialog bus proved problematic, especially when dealing with adjacent clips that had drastically different noise profiles.

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Posted by on Aug 26, 2013 | 10 comments

Separating Your Signal from the Noise: The Intersection Between Bit Depth and Branding

Finding and removing noise (image display from iZotope's RX 2 Advanced)

Finding and removing noise (image display from iZotope’s RX 2 Advanced)

As a sound designer, there are many different thoughts that come to mind when considering a topic such as noise.  Everything from using tone generated noise, like white noise in the designing of sound effects, to a technical discussion on different types of dither algorithms, but when I kept thinking about noise, one slightly different viewpoint of the word “noise” kept coming back to mind; like attempting to attenuate something that just won’t go away, this question kept creeping back into the forefront of my mind:

How does a sound designer get their “signal” heard through the ever-increasing amount of “noise” that surrounds us (and our intended audience)?

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