The Name Game Pro Tip:
  1. Didja accidentally blow through the whole, "We're using our real names" thing on registration? No problem, just send me (Mike) a Conversation message and I'll get you sorted, by which I mean hammered-into-obedient-line because I'm SO about having a lot of individuality-destroying, oppressive shit all over my forum.
    Dismiss Notice
  2. You're only as good as the harshest criticism you're willing to hear.
    Dismiss Notice

Scoring dialogue scenes questions

Discussion in 'Scoring 1' started by Daniele Nasuti, Oct 12, 2018.

Tags:
  1. #1 Daniele Nasuti, Oct 12, 2018
    Hi @Mike Verta I finished to study SCORING 1 and I have 2 questions.

    1 )
    2,39,45 – I didn’t understand about the mixing and balance of the music in real time. It’s done by a volume automation or do you lower the fader manually only for that moment, so then the CUE will be all at the same volume when you deliver it?
    And you do it only for the master fader or also sometimes for singular instruments?
    If it is by automation, when you deliver your music you leave that automation or delete it and the post production guys will do this work?

    2 )
    About that trick of looking for the frequency range of the dialogue and especially the tune of the speaking: do you use it for each dialogue scene of a film or only for some specific?
    And is it really necessary? I mean in some cartoons I can perfectly hear both the dialogue and the pop/rock tracks in background (which contain all instruments and so the whole frequency spectrum but this doesn’t overlaying the dialogue).

    So where is the trick? It’s because a particular work done by the music editor or sound designer in post-production?
    Or maybe I can do whatever I want with the music and then decrease mid frequencies with EQ before deliver those cues to the post-production?
    The other option is to lower a bit the volume of the music and then increase it again when there is no dialogue.

    What do you suggest?
     
  2. #2 Mike Verta, Oct 13, 2018
    I never pre-mix levels in the music. Never do this. Rather, I build in dynamics and orchestration which naturally fit the expected position in the mix, which leads to your second question, to which the answer is this: If the mixer and director appreciate music, they will make sure it is present and not railroaded by sfx. This is rarely the case. Music is no longer considered the second most important element after dialog (it is), and so pretty much any excuse to bury it under sfx is used. Most of the music isn't worth turning up, anyway, and doesn't do the job it typical did (sometimes does) especially in cartoons. This is why, to avoid losing a losing battle, you don't fight it as far as possible to begin with.

    I literally just posted the music + sfx tracks for a Japanese kids' show I just finished to illustrate precisely what you're asking about. It's the Blader masterclass here in this section.

    _Mike
     
  3. #3 Daniele Nasuti, Oct 13, 2018
    So at 2,39,40 when you speak about “Real time mix in terms of balance” do you mean only orchestrationally…
    And when you say that you grab the fader down and then up, it’s only a temporary test for understanding how to do the orchestration, right?

    For the cartoons and the film I totally agree with you, this is one the reasons because I haven’t seen a film come out in those last years. I don’t like sound design and also it’s difficult to find a compelling theme lately.

    Here is an example of cartoon with pop/rock soundtrack. I can perfectly hear both dialogue and music, and I can distinguish almost all the singular instruments while dialogue… it’ because of the pop nature of the music or it has been done a good work in post production? Or maybe for the clarity of the themes, or for the absence of sound design? Can you explain me please?


    Also here:


    I still have to hear BLADER masterclass, it was already on the “to do list” :)
     
(You must log in or sign up to post here.)

Share This Page