Any unwanted noise picked up on a dialogue microphone provides the listener with false cues and generates further complications with reverb appearing and disappearing suddenly in discreet spatial locations. Because all diegetic sources are now spatially defined, traditional means of filling dialogue tracks with room tone noise does not translate well to the 360 soundstage. We tried to invest most of our audio focus on set into capturing high quality usable LAV takes (with as little proximity effect or clothing interference as possible).
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