If you are looking for more aggressive weapons, try aggressively pushing these samples into a clipper. Recording weapons at 32Bit Float allows you to take control of the dynamics in post. All of the microphones were recorded at 32bit float and delivered at 32bit float aside from the 150ft microphones captured at 24bit. We used exclusively Sound Devices Recorders to capture all audio on location including the Sound Devices Mix Pre 6-II, Sound Devices Mix Pre 10-II, and the Sound Devices 633. For the distant microphones, we recorded 3 separate distances including 15ft, 50ft, and 150ft which is perfect for designing player, NPC, & distant perspectives.

We have placed all of the microphones in such a way that you have the driest possible sound which is perfect for worldizing your weapons just by swapping the tails. Close microphones include 4 Muzzle Microphones placed both in front of and behind the muzzle, 2 Body Microphones aimed directly at the mech of the gun, & 2 POV Microphones that are placed behind the shooter’s shoulders. EG I'm only automating the reduction around and threshold.The BAR comes with 14 microphone options, 8 Close Microphones, and 3 Distant Stereo Pairs. Then individual really noisy clips will be rendered at source to match the rest. Its great, try it! I also feel the same about EQ - EQ the dial so it sounds right, then have the plugin react to that reality. I also find riding faders into the plugin is very helpful: A low line needs to be pushed up, which means more noise comes up - the plugin on the bus reacts to all of this and keeps the noise level smooth. We work this way more with documentaries. If all your scene's dialog is on one track, then having the plugin on a track as the same effect. Given I've got lovely crossfades between clips on separate tracks, making the noise lovely and even, noise reduction on the bus works better.īut then I do a lot of chequer boarding. I found, with the plugin on tracks, each time the playhead reached an active clip, you can hear the plugin kick in making the first 1 sec of each clip very noisy while the plugin analyses the noise. Didn't like it on individual tracks but then this may be because I do a lot of chequer-boarding. It's not like a dynamic EQ or a de-esser where it pushes down harder the harder you hit it, it pushes down a static amount based on the noise profile it's learned, and then backs off when the signal is different from the noise profile. It can't really 'attack' noise upon first hearing because the dialogue denoiser doesn't have an a priori concept of noise, noise is whatever you tell it noise is. It's like a Dolby SR decoder: the expected input level has to be static relative to the learned signal otherwise the dynamic expansion will have the wrong gains. It may work differently for different processors, but izotope at least is expecting the incoming signal to have a stable noise floor level, its reduction bands are relative to the incoming signal gain. I will say on the other hand, I do do a lot of automating of the reduction and thresh parameters in izo, this actually works if you want to scrub up little bits and pieces frame by frame If you have a dynamic gain structure leading into a denoiser like that it has to move slower than the integration time of the adaptive logic. If you are making the kind of nudgy move you're talking about and you're using it in adaptive, it's never going to catch up because the integration time on the automatic detector is something like a second or more. RandallIt may work differently for different processors, but izotope at least is expecting the incoming signal to have a stable noise floor level, its reduction bands are relative to the incoming signal gain. This is a nice way to work if you are setting noise reduction for a scene as opposed to a bite. Having the Noise reduction plug in post fader means you are riding into it (so the processor is theoretically evening out noise floor issues as you raise a bite of dx). Don't take this too personally, but I don't really agree with this assertion.

Izotope voice denoise