Originally published in Oregon Film & Video
Magazine
One
of the many aspects of film production involves visual/sonic continuity.
The eyes can easily see the environment surrounding a voice, and
the ear-brain can sonically recognize the environment of a voice,
so the audience expects to hear vocal tracks that sound like they
were made in the scene of the movie. When that doesn’t happen,
the magic spell of film is broken.
ADR, dubs and VOs are usually done
in the acoustically dry, reflection-free environment of the typical
recording studio. These tracks aren’t usable. They don’t
sound like the on-screen environment where the action is taking
place. They require post-processing to dial in any sense of believability.
To bring a dry voice to life, the effects
unit is set up as follows: The direct signal is followed by a lower-level,
diffuse reverb with no pre-delay for the upper treble, and crossed
over at about 500 Hz. Nothing is added in for the lower treble or
bass range. The problem with this synthesized ambience, however,
is that it is made entirely out of cloned sound and the ear-brain
doesn’t like it.
Natural, acoustic sound always sounds
better than synthesized sound. Instead of working in a dry, lifeless
reflection-free studio environment, you can set up a lifelike-sounding,
reflection-rich acoustic space and get tracks that sound real in
the first place—tracks that need no further processing.
This lifelike-sounding acoustic setup
is as follows: In an otherwise dead room, set up eight to ten specular
(smooth and shiny) diffusers in a horseshoe pattern on a radius
of about three to four feet. Set the mic or bi or omni in the center
of the reflecting array. Talent stands in the opening. Upper treble
is instantly diffused and adds to the direct signal. Lower treble
and bass leaks out through the spaces between the specular diffusers
and does not return. The listening ear likes the acoustic version
of lifelike sound.
In ADR work, the producer wants more
vocal character and the engineer wants less movement. The engineer
sends back a somewhat post-processed version of their voice into
one earphone to help the talent get and stay on track. Working with
two voices, one in either ear, adds stress.
In an acoustic, reflection rich environment,
however, the talent is free to move around, using body language
to help their character emote. The sound to tape remains constant
in level and coloration, and the talent’s body or head movement
is inaudible. Even more, the talent does not need a send. What they
hear is exactly what the mic hears and exactly what goes to tape.
Drop-outs and punch-ins are just as easy.
Reflection-rich acoustic conditioned
space around the mic is the only way to get lifelike vocals to tape.
Arthur Noxon is a Eugene-based
acoustical engineer with Master of Science degrees in Mechanical
Engineering / Acoustics and Physics. A professional engineer since
1982, Noxon is state licensed to practice engineering in the public
domain. Mr. Noxon is the CEO, president and founder of Acoustic
Sciences Corp. in Eugene, Oregon.
One
of the many aspects of film production involves visual/sonic continuity.
The eyes can easily see the environment surrounding a voice, and
the ear-brain can sonically recognize the environment of a voice,
so the audience expects to hear vocal tracks that sound like they
were made in the scene of the movie. When that doesn’t happen,
the magic spell of film is broken.