Frage von Bastian90:
Hello,
I want to be happy with this very controversial topic.
I would like to say, however, that I know of course that a 5.1 mix is extremely expensive and I do not realize, but I am interested in the topic.
So how does a 5.1 mix?
1. I do believe times that I s.Set not 5 or more microphones at one time must have. That means it's total bullshit 5 Mikros s.Set up, and with a multi-track recorder record, right?
2. If I can assume, the 1st Yes, yes it takes for the Language s.Set a mono-directional microphone (stereo Why not?) s.der Angel and then draws on a mobile field recorder. The can then be sent via time code or sync with the camera, right?
3. After the actual filming will be with 2 mono microphones into stereo position (Why not just a stereo micro?) Several Atmos recorded, right?
4. So, now how does the process after the rotation?
Complete the initial raw materials to restore, then the O-Sound of Kameramiko and completely delete the language from the recorder on the exact time code to create? Now you have the complete raw material with the languages of the mono-Micro (s.der Tonangel).
Now the film can be cut.
Once the film was finished cut, the complete soundtrack as a mono-stereo (The left channel is duplicated, so that left and right listen to something, not just the left) into an audio program and imported all the Atmos, Effects added. However, the total length of the sequence unchanged, so the track again later in the film are covered.
But with what program should I do?
What do I need for a monitor?
How I encode all the individual tracks to a 5.1 mix?
How can a simple 5.1 Dolby Digital mix correct?
How does this actually for large movie productions.
Since the film runs in a large cinema and in the middle is a giant mixer.
How does it all mean?
I hope someone can help me.
Greeting
Thomas
Antwort von Axel:
Many questions at once. A very exciting topic. My passion. To my knowledge you can with Premiere / Audition 5.1 mix, with a soundtrack is in any case. I myself have never done because I do not have appropriate hardware, but I mix 2.0 to the same principles. Maybe help you
this Good surround is primarily a good sound, so I find the restriction to stereo not so tragic.
Antwort von Jake the rake:
1. For ATMOS be synonymous s.Set 5 mic (in a certain constellation of course) is used.
2. Since voice a Monoschallquele is (A is a point of Spherical spreading) s.besten take on a mono sound source by as much as possible addressed and wanted to catch some disturbing signals.
3. With 2 microphones, one is more flexible. There are different types of Stereomikrofonie (Äqivalenz, duration and intensity method). With a stereo microphone can only be realized intensity procedure.
4. The sound mixing, of course on a desk or in a software with the "5.1" way. The important thing is always in addition to the discrete 5.1 signal (So say all 6 tracks individually) synonymous the decoded output signal, again because some things no longer exist or otherwise.
As a monitor you need a "5.1" system. The same monitor means 5 speakers and a subwoofer. And here we must distinguish whether it is a bass management act (ie, the crossover at all in deep tones to the subwoofer), or the subwoofer is used only for the LFE channel communications (This requires of course a full-range monitor that as a home user hardly right can be realized)
The 5.1 mix is determined by the encoder / decoder on one Dolby Digital encoded signal synonymous should just listen to the mix. (If yes Endefekt in only 2 audio tracks)
Hope this has helped you a little ...
Antwort von Axel:
I add to the fast yet
these
In the production diaries for Peter Jackson's King Kong at
the time online, has been reported a lot about sound. A separate trailer on the set in which, in fact, two, three engineers and sat - live - a provisional multi mixed - mostly for a ton. The dialogues were almost entirely in the studio nachsynchronisiert (keyword "ADR"), an extra crew had tree trunks as of a crane on a pile of dry twigs fall down, an expense which would have been sufficient funding to meet a hundred small amateurs to fund their hobby. I appreciate the contributions can be found on additional material of any Special Edition.
Antwort von Bastian90:
5.1 goes into Ulead Magix ...
you can record mono s.Set
Atmos Mono
Soundtrack, Score Mono
LFX Mono
everything chuck into individual tracks and then mix ...
goes with me in Magix perfect!
Antwort von B.DeKid:
Even as Maxon has this feature where one little virtual boxes with the desired concept / system can tinker.
Antwort von chris67:
Hello.
1. I got the King Kong reports for the sound views.
There are often truly Atmos with 5 microphones simultaneously recorded.
But how are these Aimed what are the what?
Directional microphones or ball? Or different?
2. What is with 5 microphones simultaneously?
Running all s.einem small mixer together and gives then a Sereosignal s.den recorder or is about each Micro / each channel individually / separately recorded?
3. Can you say what recorders, mixers and microphones are often used in Proiproduktionen?
4. If you love money einmla outside it, what software / hardware would you recommend for 5.1 mixes?
5. I unfortunately do not yet understand how exactly the Pozess after recording the sounds and to restore the runs, just about software, hardware, or what you needed? How you mix with a blender 5.1?
Are there special?
Something else entirely nciht relating to fit:
6. If I get an Edirol R-4 Pro buy, then I need a mixer such as a mobile or SQN is then unnecessary, since I already s.Mischer the 4 channels can be individually levels? Or how such a mixer is used primarily?
7. How does it sound in the field with digital technology?
I always hear something of Digital converters and Digital Mixer, which is exactly the difference between a normal and a digital mixer?
Antwort von Axel:
4. If you love money einmla outside it, what software / hardware would you recommend for 5.1 mixes Professional surround sound is
subsequently mixed, mainly from mono recordings. Point.
The placement of a mono audio events in the three-dimensional space is called "panning". It is for the stereo, what you zBsdeiner stereo with the "balance" knob do.
For surround you move instead of a left - right slider a point in a square or a circle, and the software distributes the sound to the 5 channels, the sixth is a pure deep bass effects channel.
The software were easy ways mentioned above. Steinberg 'Nuendo' is generally regarded as particularly surround mixes to specialized software. "Pro Tools" had or has both software and hardware components synonymous (sound mixer), if it still exists.
The hardware you need so the 6-channel audio output (soundcard interface) and the most important thing: A good Abhoerstation (no billo 5.1 Media Set from the market).
Apart from Peter Jackson is not a man live recordings since 5.1. As I said, yes they were in King Kong as synonymous not used.
Antwort von Quadruplex:
Adolf Winkelmann has it in "Lots of coal" - and then still in Dolby Stereo (in other words home theater's Dolby Surround). The roads are blocked and the sound in 'nen bus packed to the original vierkanalig production. Does not mean that all sound sources (actors, ambient noise) four microphones were used, but only that the sources are mixed just vierkanalig.
Personally I think the fuss about "original at any price" just as little as of "The we can do everything afterwards." In scenes where it's feasible, it is my opinion, the sound of the Angel take. But there are 100,000 good reasons why this does not work - noise s.Set, animations, etc.
What struck me at a later recorded / produced s.meisten sound annoying: If you synonymous in the original version heard that the actor directly in front of a micro in a room is heavily damped, Fußschritte, or similar Schlüsselgeklirre also directly in front of the Micro will be and the whole survive this large and sterile sounds. Equally annoying: If everyday sounds obviously always the same sound library - and the bell rang for decades in all Telalon American series is always the same. Also heard are like totally overexcited noises in fights - this is mostly just silly ... And if an artist mixed despite more than adequate Dynamics of Dolby Digital and Co. says that the level is always up to the attack to draw, is also corrosive ...
Antwort von Badd:
Hello,
I have some questions still synonymous with the topic.
So I'd like my future films in 5.1 produce.
So I am going to buy me a SonyEX1 and thus produce short films ...
On the set, the only sound on the bare redzuziert, ie external micro s.der Camera.
Now I need a suitable editing software. (For Mac)
Final Cut Studio or Avid? With Avid, I know I am not good, because what can you recommend, Media Composer (Adrenaline, or software, what is the difference?)
As a cutting machine, I use a Mac Pro with 2x 24 "Eizo displays and a large 42" TV as a preview monitor.
Now I would like 5 + Subwoofer Genelec monitors to buy.
As a software Cubase Nuendo + + DolbyDigital encoder.
But what about with a controller or mixer from? I had only s.einen Yamaha N12, but 12 channels are clear enough to me.
Until now I have Adobe Audition I usually had 20-30 tracks. But since I have everything about the software s.Mac mixed. Now I would like on the mixer to mix say I prefer the dialogue track in zb 1.2 and 3 and the music in 4, etc. and then I just press play and can live s.msicher all set. but this should be with Nuendo or anything?
But how can anything with the CIH 5.1 make a connection?
I hope you can help me?
So what controller / mixer and how does it work with 5.1 and Nuendo s.Controller?
Antwort von TheDrummer:
Hello!
Basically, I would you continue to mix in the Mac advise.
SoundtrackPro or LogicPro are ideal for the 5.1-mix!
The former would be at this FinalCutStudio2 - including NLE So - what the answer to the question of "appropriate editing software. (For Mac)" questions.
I've got with AVID and FC geschnitten - FC has clearly be ahead!
It saves a lot of working through dozens of ways to manipulate the timeline ...
There is some Midi / USB - Controller (Korg Kontrol, Mackie Control, ..) which just over SountrackPro / Logic briefcases can - so you can all channels synonymous "live" and at the same time to automate.
Look at the 5.1-Control of Logic / SoundtrackPro at times - very easy to understand, can live Machner synonymous - but hold only 1 x 5 channels simultaneously - ie 1 noise in the room can fly around.
If you need more (I do not know) can indeed synonymous deeper into the pocket;)
perhaps helps you's next ...
MFG
Antwort von Badd:
Could you maybe me examples for this controller?
How do I close because of Monitre s.den Calculator? extra soundcard? What?
You mean so LogicPro8 with soundtrack or 2, I can mindetens as well as 5.1 mix with Steinberg Nuendo?
How does it because from Apple? I do believe times that I LogicPro8 a player / monitor on the load can then run the movie and I adjust the sound.
Could you please this part:
"However, holding only 1 x 5 channels simultaneously - ie 1 noise in the room can fly around '
Again something erkläutern precisely how this works?
What is it, if I had everything ready mixed?
Can I use the sound as a real dannn Dolby Digital export?
Can Final Cut Pro 6 with the 5.1 files around?
How do I burn my s.besten HD movies with 5.1 on a DVD?
MFG
Antwort von Badd:
Edit:
What is the difference between 2 and Soundtrack LogicPro 8 loht is still synonymous in Logic 500 ¬ to be stuck, or I come with Soundtrack as well to cope?
Antwort von bArtMan:
Could you maybe me examples for this controller? How do I close because of Monitre s.den Calculator? extra soundcard? MFG You need a sound card with at least 6 analog outputs. The best balanced XLR or phone jack. I use a Lynx Two B. cheaper but synonymous with M-Audio, RME, MOTU, etc.
These outputs include s.einen You surround monitor controller.
http://www.thomann.de/de/spl_smc_surround_monitorcontroller.htm
http://www.thomann.de/de/spl_volume_8.htm
The outputs of the controller then purely in the Genelecs and the subwoofer. Now you can adjust the volume of all channels simultaneously regulate.
In your software you then routes the channels L / C / R / SL / SR / LFE on the respective outputs of the soundcard.
Mixing in each case in the DAW (Nuendo, etc.) and not on an extra-mixing.
There are synonymous nor a cheaper alternative. You can do you a high quality surround receiver of Yamaha, Denon, etc. s.and then uses the 5.1-analog inputs. It closes you directly to the outputs of the soundcard. But then, you need to get XLR / TRS or RCA / RCA adapter. The level of the sound card then on Consumer format. At the receiver closes then you high-quality passive speakers (KEF example) to. The receiver is also the controller and can have a Einmeßsystem optimize your monitor.
Whether you plan to select A or B, is because if you synonymous for other professional want to mix in surround. If not, I would plan B preferieren.
Now there is a problem that when you have two solutions. Namely, the direct Integrating an Dolby-Codierers/Decodierers. In programs such as Nuendo, etc. can you use the Dolby encoder on the fly does not involve. You can only the 6 tracks to a surround encode the file, then with an authoring program and burn it into a DVD player. The switching between the encoder / decoder is important to see what influence the coding on the overall sound is. This is mainly in the SW channel funny. My DTS Encoder blässt beautiful on the subwoofer. After a few projects, but we know where the SW channel and use it where you generally omitted.
A hardware-integrated into the signal path costs 5K loose. It's worth it then really only for big studios.
I recommend you plan B and then the traces in Vegas Pro to encode in AC3 or an encoder of Surcode use. If you're satisfied with DTS, then accept the Surcode DTS DVD. I have for 210 ¬ in D purchased directly from the distribution.
