October saw the exciting release of Marvel Studios’ newest film ‘Doctor Strange’ featuring big names such as Benedict Cumberbatch, Chiwetel Ejiofor and Rachel McAdams. On the post-production side of the things, the audio team have revealed that iZotope products RX5 Audio Editor and Iris 2 played a major part in preparing the audio of this film to be ready for the big screen.
iZotope had a chat with Emmy award-winning Supervising Sound Editor Dan Laurie, Supervising Sound Editor and Sound Designer Shannon Mills, and Dialogue and Music re-recording Mixer Tom Johnson to find out some of the challenges of working on the audio post-production team and how iZotope products helped.
Dan Laurie described how dialogue production is always a major challenge; noisy dialogue is a common problem in big sets with fans wailing, exterior locations, planes, trains, and automobiles. He then goes on to say how he used RX to effortlessly clean up dialogue without losing the quality. He found Dialogue De-noise to be a huge help, as well as De-crackle, Ambience Match and Spectral Repair. He finishes by saying;
“As a [Dialogue Supervisor], iZotope products are invaluable for me. I literally use them all day long when I am editing. From De-crackle to Dialogue De-noise to Spectral Repair to Ambience Match—I am not really sure I could ever do without it.”
Dialogue and Music re-recording mixer Tom Johnson also mentions how some scenes were filled with broadband noise from air conditioning fans. He describes how in the dialogue premix, the team used the Spectral Repair feature in RX to remove pure tones caused by lights and other electrical events. He also found Dialogue De-noise to be useful for reducing noise levels without affecting subtle vocal performance elements like breaths and movements. On top of this, EQ Match, De-clip and De-click also played a big part.
Sound Designer Shannon Mills says from the FX side, it was a challenge imagining what this new kind of magic would sound like, so wanted to come up with something unique to go with the kaleidoscope/mandelbrot type images.
She used sample-based synthesiser Iris 2 a lot to trigger samples and filter real sounds in different ways to create a building effect. She explained how she could then play various “families” of sound on a keyboard to create repeating, but continuously changing patterns.
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