Assessment 2 – Voice Over
I’ve attached the script here as a pdf, any other information about balance and file placement is below under “pointers”.
Deadline – tba
Pointers
1. record voices on discreet mono tracks, edit out all mistakes/hesitations and automate the volumes on each track to avoid
‘spill’. Keep both voice tracks at 0.00 dB (see point 2 re. balance). Merge/consolidate the edited regions (shift alt 3).
NB : group voice tracks to edit them, un-group them to automate the volumes, re-group them to ‘slip’ (F2) position them later.
2. use a de-esser and compressor plug-in on each voice track to control excessive sibilance and dynamic range and equalisation (specifically HPF – high pass filter) to roll off unwanted bass.
NB : use a compression ratio between 3:1 and 5:1, a fast attack time of 0.1 ms, a recovery time of c. 50ms, adjust the threshold to yield a gain reduction of no more than 6dBs and adjust the plug-ins’ make-up gain to balance the voice/s against music / sfx.
3. create a reverb ‘unit’ on a separate stereo aux input and send both voices to it to create a ‘development area / warehouse’ ambience.
NB : err towards subtlety.
4. pan each voice left and right of centre, not to extreme left or right, to give a sense of space between them. As well as creating a little ‘movement’ this should help vocal clarity.
5. position all sfx and music files on their respective tracks. Use the ‘spot’ tool (F3) in Mins:Secs to type in the desired time.
6. reverse the pan between the first and second placements of “Ocm printer 1”. Do this by either automating the pans ie. L to R and R to L, or set a new stereo audio track with its pan pots inverted.
7. automate the start music fade out around the time of the “Hc2600 stop” sfx (20.152) and slip your edited voices into place. The exact start point for the voices is at your discretion.
NB : use 0dB as the level for the music track (apart from when you fade it out) and balance the sfx and voices against it.
8. fade in background 3.22 (sfx 2) to coincide with the start of the voices “Ah 007”, making sure it’s never too loud. Also, make sure it fades out before the end of the ‘end music’.
9. position ‘end music’ so that it’s final ‘sting’ sounds just after Q’s last line “very good Bond”.
NB : gradually fade in ‘end music’ about 15 secs from the end giving it an aggressive boost in level (to no higher than 0dB) for the final sting.
10. using the ‘peak’ setting in the master fader to ensure that the peak value for the entire mix is –0.2dB.
11. fade down the master fader to coincide with the end of ‘end music’s’ sting. NB: don’t insert any automation break-points on the master fader until you’ve adjusted the master’s volume for the peak level of –0.2dB.
NB : this is your ‘marker’ for the end of the bounce down.
12. bounce down the assessment as a stereo interleaved wav (16 bit 44.1 KHz), in to the ‘bounces’ folder inside your assessment 2 folder. Upload to my iDisk on the given hand in date.
NB : I must have your Pro Tools projects (including all audio files) + the bounced audio files. If I can’t reconstruct your work to see your ‘workings’ prior to the bounce it’ll be reflected in your mark.
Naturally, if you have questions about any of these ‘pointers’ please blog a comment or two, email me or ask in class.
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