Embedded Files
The info below will outline some basics for post-production sound in Adobe Audition.
For more info, tips and practical exercises, check out Jay Rose's ebook 'Producing Great Sound for Film and Video' for FREE through the SAE library. https://southernsaelibrary.on.worldcat.org/oclc/887855088
Table of Contents
Table of Contents
Workflow
Workflow
After data wrangling, the editor should sync all of the video and audio files before commencing the edit.
The editor will likely complete basic audio editing in Premiere (like adding temp music and essential sound effects), but they shouldn't delete any audio (just mute it instead!) - the sound designer will make these selections in Adobe audition.
Once the edit is finished and you are at the 'picture lock' stage, the edit is ready for the sound designer to start working in audition. Any changes to the picture edit after this stage will cause sync issues (AVOID this!).
In Adobe Audition, the sound designer will work on the dialogue (usually first), then the sound effects (such as ambience and foley), and music.
Important: The sound designer should be gathering and recording sound effects, atmos etc. during the picture edit stage. If you are working with a composer, they can begin composing the music too. Keep an eye on the rough cuts and plan your sound design, gathering all your assets so once the edit is handed over to you, you can get in the flow and work efficiently.
Export from Premiere
Export from Premiere
Exporting from Premiere to Audition is a straightforward process. With your chosen sequence open in the timeline follow the below steps.
Click Edit (menu bar up the top) - Edit in Adobe Audition - Sequence
In settings, make sure you have named it something sensible.
Set Audio Handles: to 9.99 seconds
In Audio Clip Effects: select 'Remove all clip effects'
In Audio Track Effects: select 'Remove all track effects'
3. Click OK.
Set up Adobe Audition
Set up Adobe Audition
1. Select the workspace "Edit audio to video" - it is easier to use for film sound post.
2. Set the frame rate and time display correctly. In Australia this is likely to be either 24 or 25 frames (whatever your video is).
Click Adobe Audition (menu bar up the top) - Preferences - Time Display
Set Time Format: to match your project's frame rate.
Click OK.
3. Make sure your timeline is also working with this frame rate.
Right click on the time bar - Time Display - Synchronise with time display preferences
Organise your tracks
Organise your tracks
Your track layout should be neat and follow the below format. You can have as many tracks as you need in each category.
1. Dialogue DX tracks (in each scene, each character normally will have their own track).
TIP: Add a junk dialogue track after all your dialogue tracks, for bits and pieces we may want to come back to in the edit eg. alternate takes or other microphone sources.
2. Sound Effects FX tracks (Foley, Ambience, Effects) - as many tracks as you need. It can be helpful to break up 'types' of sounds onto their own tracks eg. (clothing rustles, footsteps, ambience 1, 2, 3. etc)
3. Music MX tracks
Hopefully, your editor has kept the edit tidy and there isn't too much neatening up to do. If not, go through and sort everything onto tracks.
Next, name your tracks.
Click on the track name (usually 'Audio 1' by default) and name it based on what it contains eg. DX Bill, FX Bill's Footsteps, or MX Score.
Next, route your tracks through stereo buses - this means that you can control the volume of all the dialogue, effects or music tracks at once and when it comes time to export, you can export your 'stems' (meaning, all the dialogue, all the FX, and all the music) in three seperate stereo mixes.
Click Multitrack (menu bar up the top), Tracks, Add Stereo Bus Track. You will see the shortcut for this is option B.
Add 3 stereo buses (Name these DX, FX and MX).
Make sure these sit underneath your other tracks, just above the mix track (aka. the master).
Now, for each track above, you have to send it through the appropriate bus, instead of the 'mix' (aka. master).
Head over to the Mixer window (instead of the editor window).
Click on Output - Bus - DX/FX/MX (whichever type it is - remember Dialogue DX, Effects FX, Music MX)
Set each track to run through one of the buses (DX, FX or MX).
Remember, any time you add a track in the future, you will need to set its output through one of the buses.
Your Audition project should now look like this.
Dialogue Edit
Dialogue Edit
The goal of the dialogue edit is to make the dialogue seamless and smooth. No distractions for the audience. To achieve this, you will:
Match clip volumes/gain
Use fades and crossfades
Use room tone
Use noise reduction when necessary
Match Volume
Match Volume
Now that your Audition project is set up, go through and match all of your dialogue clip volumes. As a rough guide for publishing on the web, aim to have the dialogue peaking between -6db and -12db.
There are two ways to control the volume - the gain setting and volume 'envelope' (the keyframe line). Note: the gain setting will import from Premiere so if your editor has already made adjustments, your clips may already have gain settings.
1. Use the clip gain setting to match all your speaker volumes.
2. Use the volume envelope and keyframes for later adjustments and smaller changes (eg. if someone has a sudden outburst that needs to be smaller or to fade out an ambience under dialogue).
Gain Setting
Gain Setting
At the bottom left of each clip, you can see the gain setting where the top image says '5.0db'. This means the gain is set to +5db from what it was recorded at. Hover your mouse over the 5.0db and you will be able to drag this up or down to adjust clip gain.
This setting can also be accessed and changed from the properties tab.
Note: Adjustments to 'clip gain' change the height of the waveform.
Volume Envelope
Volume Envelope
The volume envelope allows you to keyframe the volume of the clip, track, bus, or mix (depending which track you are editing).
Crossfades and Room Tone
Crossfades and Room Tone
Working clip by clip, trim the beginnings and endings to remove any unwanted breaths or word segments. Also ensure no words are cut off.
Add fades at the beginning and ending of clips so the audio doesn't cut in and out - make these long and smooth if you can. Overlap these with the next clips so the audio smoothly fades in and out at the same time. Use crossfades between clips. Use the little grey boxes at the top of the clip to create a fade (click and drag the fade out). Simply drag clip ends out over each other to make a crossfade.
Add room tone to silent gaps or when you couldn't make a fade long enough because the cut was mid-sentence or the interviewer was speaking.
Noise Reduction
Noise Reduction
There are several types of noise that you can improve in post.
Constant tonal noises (eg. siren)
Clicks and pops
Hums (eg. electrical hums)
Some random short sounds (eg. bird call)
Constant broadband noise (eg. air conditioners)
Spectral Painting
Spectral Painting
Use the spectral frequency display along with the paintbrush, spot healing brush, lasso and marquee tools to 'photoshop' problem audio. HOW TO HERE
Noise Reduction - constant noises
Noise Reduction - constant noises
Use Noise Reduction (Process) to remove constant noises like air conditioners, fans, etc. HOW TO HERE
Denoise - constant noises
Denoise - constant noises
You can also use the Denoise effect to remove constant noises - it is less precise and can affect the vocal more than the noise reduction tool (you can get some warbly background artifacts), but it is a very easy tool to use. Unlike the noise reduction tool, it can be used as a track effect where you can apply it to the entire track in the multitrack editor - helpful if you have a tonne of clips!
Automatic Click Remover - MIGHT help with clothing rustle
Automatic Click Remover - MIGHT help with clothing rustle
Use the automatic click remover on the clip effects rack to help remove clothing rustle from lavalier microphones.
Dehummer - hums
Dehummer - hums
Use dehummer to remove electrical hums (50hz in Australia, 60hz in USA.)
TIP: Use the spectral frequency display to see where your hums are! HOW TO
For step by step noise reduction instructions, check out this Linkedin learning video.
Exporting to Premiere
Exporting to Premiere
To get your sexy mix back to Premiere:
Click File - Export - Export to Adobe Premiere Pro
Save your file somewhere sensible
Ensure you are exporting at a sample rate of 48000.
Export each bus as a stem (this will export your dialogue, effects and music into three seperate tracks for Premiere to allow any needed adjustments for individual exports eg. social media).
More to come soon!
More to come soon!
Next I will cover:
Working with atmos and ambience to set a scene.
Where to find free sound effects.
Music editing and remixing.
EQ for dialogue clarity and vocal presence.
EQ and reverb for creative effects.
Audio track mixing and sub-bus volumes for your final mix.
Report abuse