He decided to keep things within the Adobe Creative Cloud and do his complete audio mix and design in Adobe Audition instead of Pro Tools. That’s where Cummings’ breakthrough came. And, for anyone who’s made that transition before, the “three to four days” Cummings talks about it taking for the audio to sound as good as your Premiere mix might be generous, as it can be pretty laborious to rebuild so much of your audio design in a completely different program. “I didn’t want to do that anymore,” admits Cummings in the video above. The biggest issue facing Cummings (who edited the film himself and wrote and directed it with collaborator PJ McCabe) was the inefficient process of switching between Premiere Pro and Pro Tools to do a full sound edit and mix. Mixing Audio in Adobe Audition (Instead of Pro Tools) Image courtesy of Jim Cummings. ![]() While you could always look into pulling sound effects from a resource library ( like the one here at PremiumBeat) for the little details, sometimes it’s fun to make the SFX yourself.Īnd, truth be told, using a smartphone (with what looks to be something similar to a RØDE VideoMic ME directional mic), you can actually get quality audio that, with some basic sound editing, can fill in quite nicely for any SFX or room tone you didn’t record on set. ![]() The foley Cummings is doing is relatively minute and needed to help fill out the room tone for what’s supposed to be a bustling dinner scene. But, in context, it makes a good deal of sense. Try telling that to your film’s director or producer off the cuff, and it might sound ludicrous. Recording Your Own Foley Image courtesy of Jim Cummings.įirst off, probably one of the coolest behind-the-scenes features from this short video shared by Cummings is this casual-but super-informative and inspirational-revelation that he recorded foley for his film with a smartphone. How we used software to finish The Beta Test from home. Let’s look at some of the helpful lessons learned from this behind-the-scenes featurette. Writing, directing, and starring in three feature films ( Thunder Road, The Wolf of Snow Hollow, and The Beta Test) over the past three years.Īnd, with each film, Cummings has found the time to provide some heartfelt and constructive tips and tricks for other filmmakers to try out on their own.įor The Beta Test, a steamy, modern Hollywood noir that follows the characters entangled in a sinister world of lying, infidelity, and digital data, Cummings shared a glimpse into his team’s post-production process with a focus on sound, audio editing, and design-specifically in how they were able to work entirely within the Adobe Creative Cloud and with Adobe Audition. He’s also been quite busy both behind and in front of the camera. A look at the audio editing process of The Beta Test.įrom navigating the challenges of a one-shot short film to shooting a horror-comedy hybrid film in the middle of a pandemic to answering all your filmmaking questions with his YouTube series, Jim Cummings has been a treasure trove of information for aspiring film and video professionals. This is in general why most guitarists choose to use external 'real' effects, which obviously don't suffer from this problem at all.Is it time to start audio mixing your films in Adobe Audition? Jim Cummings thinks so. It's called 'latency' and there's nothing you can do about it, I'm afraid. This takes a finite amount of time, and can be seriously disturbing to your playing. The second point may be more significant to put the effect on your guitar, the signal has to go into the computer, get processed, and then get out again. This is entirely deliberate - it gives you the option to make changes after the event, when you discover that your processing guess wasn't quite right in the context of the track as a whole. But, there are a couple of important points to note you will still be recording the track dry - if you remove the effect from the track afterwards, you'll just hear the raw signal again. ![]() You should then hear the effected sound from whatever effect you've put in the track you're recording on. If this doesn't work immediately, you may have to enable smart monitoring in Edit>Preferences>Multitrack. If you alter the scarlett monitoring from 'direct' (push the button to disable) then you have the option to get the sound back from your computer and monitor that instead. Audition only records dry, so if you are monitoring the input from the scarlett on headphones, that's what you will hear - dry.
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