Transcript Dialogue class(1).

Dialogue
Dialogue
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Recording
Usually recorded with at least 2 sources for each
actor Boom, and Lav
This is NOT L and R, DIA is almost always
recorded in mono.
Whichever mic sounds the best should be used.
Try not to switch mic’s during a scene as
perspective and ambience will change.
The Lav usually yields a warmer, better sound.
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Dialogue
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Pre-Laying
Moving the audio from the layout of the OMF
file into a session template, so that all common
elements are on their relative tracks.
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These tracks are then summed to their
appropriate aux for stem mixing.
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These Stems are then summed to a “Full Mix”
bus.
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Dialogue

Making Choices
.
Whichever mic sounds the best should be used.
Try not to switch mic’s during a scene as
perspective and ambience will change.
The Lav usually yields a warmer, better sound.
1st pass make gentle eq choices
Search for alternate takes if needed
Notes are taken applying to which lines will need
to be ADR’d
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Dialogue
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Dialogue Mixing
Leveling 1st thing to attack when mixing, dbv vs dbfs
Vu meters vs Dorrough
Peak vs RMS
Always level out before adding compression
Almost always Mono and panned in the middle or
center channel. Dia always stays in the center
regardless of listener position.
Create a mono dialogue stem
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Dialogue
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Dialogue Mixing
Transitions between cuts and ADR will need to be
smoothed.
Usually more is ADR’d than is needed as a safety
1 method-Post fader compression and EQ so that
you can control compression with the fader, overall
levels post compression
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Dialogue
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Dialogue Mixing
Prioritize Dialogue 1st, Music 2nd, and FX fill in.
Mixing to the lowest common denominator, monitor,
Broadcast compression and limiting
Always know your deliverable specs
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Dialogue
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Dialogue in Television
Television is much more stringent on Dialogue
levels.
Longer form allows you to have more dynamics
because you aren’t fighting commercial material as
often.
Still important to understand how the material will
level out relative to commercials and promos.
Usually a compressor and or Limiter at broadcast
stage. Important to know the threshold that these
pieces of equipment are set
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Dialogue
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Dialogue in Television
Every broadcaster has it's own specs. You have to
get the specs of your target TV channel.

They can be very detailed, like the Discovery specs
or the PBS specs. They will tell you exactly what is
your max peak level, average dialogue level, average
overall level, what measurement instrument is to be
used etc. Meter that the networks usually specify is
Dolby LM100.
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Dialogue

Dialogue in Television
Some network specs give you only the maximum
peak level, and the reference level.
REFERENCE LEVEL - it is used for equipment
alignment, and doesn't have a direct relation to actual
mixing levels.
In SMPTE countries it is -20dBFS and corresponds
to electrical level of +4dBu
MAXIMUM PEAK LEVEL - this is where you set your
brickwall limiter on the master buss, or otherwise not
go over it.
Average Dialogue Level Varies from network to
network.
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Dialogue
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Dialogue in Television
TV commercials

Again, you have to get the specs of your target TV
channel, but you will most likely only use the max
peak value they provide. Below that, you can
compress as much as you wish - it's a loudness war,
similar to the one in popular music production
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Dialogue
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Dialogue in Theaters
There are no guidelines in terms of average
loudness, peak or any other level measurement. You
achieve proper levels by properly calibrating your
listening environment, so that it resembles the
environment of the theater.
X-Curve has provided the motion picture industry
with a valuable standard that ensures plausible
interchangeability of program material, from one
studio to the next, from studio to theater, and from
film to film, which takes into account the different
perceived spectral response of different room sizes.
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Dialogue
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Dialogue on DVD
Here, same rules apply as with the theatrical mix,
except that the monitoring is different (near-field, no
X-curve), the room is smaller, it is calibrated lower,
AND there is the dialnorm parameter if your sound is
AC3 encoded.
You have to determine your target dialnorm
BEFORE you start mixing, so you can adjust your
listening level accordingly. Most DVD's are mixed for
dialnorm -27dB (because that setting is the most
compatible with the theatrical mix), but some use the
full dynamic range (-31dB)
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Dialogue
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Dialogue on DVD
Remixing for DVD usually occurs because of
the x-curve is not used
 different target listening environment - home is not
as quiet as the theater, sound is often reproduced
from poor speakers, so this re-mix serves mostly for
the quieter parts to be raised a bit;
 the specifics of near-field listening - some errors in
details and imaging can get revealed. Also, loud parts
can get too loud when listening close
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