Georgia Hilton MPE CAS MPSE Prod/Dir/Editor

Film Services Professional ( Producing / Editing / Delivery )


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freq harmonics stuff

Posted on February 28, 2010 at 12:50 AM

freq harmonics stuff.... good for cleaning up dialogue sometimes Determining the Harmonic Frequencies

speed = frequency • wavelength

frequency = speed/wavelength

f2 = v / 2

speed = frequency • wavelength

frequency = speed/wavelength

f3 = v / 3

The frequency of the third harmonic is three times the frequency of thefirst harmonic. The frequency of the nth harmonic is n times thefrequency of the first harmonic.

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VVTR and Soundmaster notes:

Posted on February 28, 2010 at 12:50 AM

V V T R and Soundmaster notes: here'ssome info about Soundmaster and VVTR.. Also Soundmaster now has a VVTRmode, a VVTR loose mode and a VVTR 1 frame mode. iF you have a videofile that the frame edges are not perfect, contact soundmaster and theyshould be able to hook you up with the new settings...

Just a quick note to summarise the whole situation with respect to

VirtualVTR Pro, Kona3 and Soundmaster on Film Mix Stages,

particularly running 23.98 @ 29.97 conf...

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Interesting Reverb data on various surfaces..

Posted on February 28, 2010 at 12:49 AM

Interesting Reverb data on various surfaces... Wallace Clement Sabine (1868-1919)

Sabine's Reverberation Formula

Wallace Clement Sabine was a pioneer in architectural acoustics. Acentury ago he started experiments in the Fogg lecture room at Harvard,to investigate the impact of absorption on the reverberation time. Itwas on the 29th of October 1898 that he discovered the type of relationbetween these quantities. Sabine derived an expression for the durationT of the re...

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PAUL WHITE explains why a great reverb doesn't always make a mix sound better.

Posted on February 28, 2010 at 12:48 AM

PAUL WHITE explains why a great reverb doesn't always make a mix sound better.

Most studio musicians appreciate the importance of reverb in recordedmusic, but a large number of demos are still spoiled either throughover-use or inappropriate use of this crucial effect. Pop music israrely recorded in a natural acoustic environment, unless you haveaccess to one of the top studios with a really good live room, so whattends to happen is that sounds are recorded in a f...

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Room Simulation

Posted on February 28, 2010 at 12:48 AM

Here's a piece on Room Simulations for music and film 0. INTRODUCTION

Typical production techniques involve only one or two inputs to the room simulation

system, thereby limiting the precision of source positioning to be only a matter of send

level differences and power panning. This “one source - one listener” model is not very

satisfying when producing for mono or stereo, but even worse when the reproduction

system is multichannel.


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Some Dolby Links

Posted on February 28, 2010 at 12:47 AM

SOome DOLBY E and DOLBY AC3 stuff

Dolby Broadcast and Pro Audio Products - Dolby DP569 Multichannel Dolby Digital Audio Encoder

Dolby Broadcast and Pro Audio Solutions - Broadcast Distribution with Dolby E

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ISDN Primer part 3

Posted on February 28, 2010 at 12:46 AM

ISDN primer... Part 3 SLC-96

A Subscriber Loop Carrier Circuit system manufactured by AT&T (nowLucent). SLC-96 has its own version of T1 framing between it and theCO. This interface is the Bellcore TR-008 or the newer GR-303 interfacewhich are specialized versions of T1 intended to allow transparenttransport of analog features such as Caller ID, Call Waiting, etc.


Subscriber Line Interface Circuit, see Line Card. ...

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ISDN Primer part 2

Posted on February 28, 2010 at 12:46 AM

ISDN primer ... part 2 Exchange

Another name for a Central Office. See CO

Four Wire

A circuit path using separate pairs for send and receive. This term isalso used when referring to digital channels that inherently havediscrete send and receive paths, regardless of the number of pairs (orother media) used.


A unit of data which is defined by the specific communications protocol used. See Line Format, T1.

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ISDN Primer part 1

Posted on February 28, 2010 at 12:45 AM

ISDN Primer...part 1 Forthose interested in ISDN and just getting onto deliveringADR/Dialogue/Mix/whatever via Telcom in realtime. Or as I like to sayISOCRONUSLY....

Integrated Services Digital Network (ISDN) is an international standardthat defines a worldwide, completely digital switched telephonenetwork. ISDN is designed to carry large amounts of information and hasa number of potential uses, such as high-speed modem communications anddesktop videoconferencing. For broad...

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X-Curve or Film Curve info

Posted on February 28, 2010 at 12:44 AM


Pink noise is played through each speaker or channel of a sound soundsystem. Then, equalization adjustments are made to each channel untilthe measurement of the pink noiseconforms to curve called the X curve.In the beginning, theatre loudspeakers suffered from both a limitedfrequency range as well as a poor frequency response. By implementingequalization, you can solve some of these issues. A room the size of athreatre will create acoustic anol...

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Post Primer part 2

Posted on February 28, 2010 at 12:44 AM

part two of primer written by Bruce C. Nazarian M.P.S.E.

What about optical soundtracks ?

Optical soundtracks (we mentioned them earlier). Almost all of therelease formats, including the digital ones have provision for somekind of optical soundtrack, even if only as a backup. The opticalsoundtrack refers to the two-channel soundtrack that is carried on theoptical track of the film release print.

How do I get an optical soundtrack ?

Once your ...

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Post Primer from a colleague

Posted on February 28, 2010 at 12:43 AM

This is a great primer on post written by Bruce C. Nazarian M.P.S.E.

here's the website Audio Post FAQ's


* Production Dialogue Editing - In order for the production audiorecorded on the set or on location to be properly mixed, a DialogueEditor needs to properly prepare it. This means locating the propertake from the recorded production audio, checking sync (so it actuallyworks with the picture properly), and eliminate extraneous noise so theMix...

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LEQ-A vs LM-100 Dialnorm

Posted on February 28, 2010 at 12:42 AM

LEQ-A LEQ-M LM-100 differences LEQ-Mand LEQ-A are measurements, using different weighting curves, ofLoudness for long term program averaging. LEQ-A uses A-weighted andLEQ-M uses the CCIR weighting.

LEQ-A has a slight lifting bump in the 100hz to 1kz range and LEQ-M hasa flatter lift to around 10k with a bump between 5k and 10k

LM-100 uses a patented methodology selecting the Dialogue from theoverall mix and determining average loundness based on either theover...

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Dialogue Norm info

Posted on February 28, 2010 at 12:42 AM

SOme mixed ranting on DIALnorm and DOLBY encoding issues collection of a couple rants of mine in the past:

HDnet normally wants a digital video tape with LtRt and DOlby-E. TheDOlby-E stream must be laid on the tape so that the audio ON TAPE is insync with the video. So, depending on the frame rate of the video tapeyou will need to off-set the audio so that after passing thu theencoder the audio is in sync ON TAPE. The encoding process places anamount of delay on the output ...

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micing on bass managment rigs for film

Posted on February 28, 2010 at 12:41 AM

Note: THE FOLLOWING IS A PERSONALOPINION, NOT A FACT, the only fact about is that it will probably pissoff at least 200 people....


I would not recommend/nor would I be happy mixing for FILM andTHEATRICAL utilizing a bass management enabled A-Chain. I feel that itmay not provide you with a proper understanding of what the mix willsound like in a theatrical B-Chain system.

I see no reason why you shouldn't mix on a bass managed system for...

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HD / SD shooting guide line thoughts

Posted on February 28, 2010 at 12:39 AM

HD Audio/video shooting guide ( more or less ) Some audio / video guidelines for shooting HD and dealing with audio in the new HD world....


Audio/Video Guidelines for Separate Sound Recording

Record video at 23.976 fps (not 24 fps)

This is to allow a field down converter to be used. Video playing at 24fps cannot be downconverted. If video is recorded at 24 fps, the Postfacility will "pull it down" to 23.976 fps in the down...

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Television Standards and the lack there of

Posted on February 28, 2010 at 12:39 AM

Television standards are most definitely not.

If you are going to mix for delivery to Broadcast you must absolutlybeyond a shadow of a doubt get a written copy of the delivery specs forthe SPECIFIC broadcaster you are delivering to.

Every broadcaster has DIFFERENT SPECS! I have a 3" binder FULL of specsfrom all sorts of broadcast facilities, cable companies, individualcorporations that provide content to broadcasters, etc.... I wouldshare this, BUT, they are compa...

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Links for metering

Posted on February 28, 2010 at 12:38 AM

inks for metering and scales

Digital Domain - Level Practices (Part 1)


dkaudio - Google Search

Shure - Products

Peak Programme Meter

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Production Sound

Posted on February 28, 2010 at 12:37 AM

Remember this is an overview and not ALLthe technical issues are addressed here. This is from a lecture I giveto indie film makers....



Transfer in Post

Jumping ahead for a moment

resolving process: you must be careful to select the correct mastersync frequency! If you shoot film at 24fps and have it transferred tovideo, the film will actually be transferred at 23.976 fps. Therefore,to maintain the correct sync re...

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Bass Management

Posted on February 28, 2010 at 12:36 AM

bass mgmt for beginners from a paper I wrote for MIX mag. A brief History

We’ve been mixing in 5.1 and surround for a year or two now. Mostly insomeone else’s studio. After a rather long period of research, soulsearch, and for whatever reason, search me, we decided to enter the21st century. Our studio, Samurai Music went over to the “other” side.We are now a 5.1 Surround Sound Facility… Of course the first thing wedid, err..well, actually the s...

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