![]() The privacy of our website visitors is very important to us, and we are committed to safeguarding it. ![]() "We are able to create material that is effectively the same as what would come out of a dubbing suite."ġ. ![]() "What used to take us a couple of hours is now taking 20 minutes, which ends up saving the editors thousands of hours over the course of a project," remarks Beentjes. Beentjes is now able to deliver dialogue to the re-recording mixers that is clean and sonically neutral. The powerful tools in RX have not only advanced Beentjes’ workflow, they have helped the entire audio post team. "With Spectral Repair, we can go in and remove sounds that are completely out of context for the scene." "The magic of Spectral Repair is actually being able to take away the sounds that would take the audience out of the scene," said Beentjes. Unfortunately, there were birds and other distracting noises all over the audio track. For The Desolation of Smaug, a large part of the film takes place on a desolate mountain, devoid of animal and human life. However, using the Denoiser feature in RX 4, Beentjes was able to remove many of the artifacts created by new technology, while preserving the crisp definition of the original dialogue.Īnother key feature Beentjes utilised in RX 4 was Spectral Repair, which enabled him to isolate and remove unwanted sounds, even during long passages of audio. Unfortunately, this often introduced extra high-frequency noise from 3 to 8 kHz-significantly interfering with dialogue clarity. Instead of the normal 24 fps frame-rate, the films were shot in 3D at 48 fps. "RX has been fantastic, and we’ve developed a completely different workflow," Beentjes said. ![]()
0 Comments
Leave a Reply. |
AuthorWrite something about yourself. No need to be fancy, just an overview. ArchivesCategories |