"through Headphones" effect
Hey, I have a guy in my scene wearing headphones. How do I get the diegetic radio audio to sound like it's coming through his headphones (bonus question, how do I get the sounds in the room to sound faint and muffled like it's squeezing around his headphones)?
I've looked on line and all i can find are tutorials on how to listen to my Pro Tools THROUGH my own headphones. Thanks again (I'm very very new) |
Re: "through Headphones" effect
Why don't you mic up the headphones? :-)
To answer your question, EQ. |
Re: "through Headphones" effect
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Channel Strip EQ3 1 Band EQ3 7 Band Fabfilter Pro Q 3 Which one should I focus on? Also, trying both foley effects and pro tools effect to be flexible depending on the situation. |
Re: "through Headphones" effect
Start simple and just see. Think what qualitative adjustments you are trying to make. Start with simple plugins, ideally ones you have used, and see if you can do stuff, then just experiment.
--- What headphones? Open back? Closed? Cheap earbuds? Quality in-ear monitors? As a headphone lover I'd hope they scene is using high-end headphones that show a very high sound quality, with (closed back or in-ear) significant attention or muffling (extreme roll of of high frequencies) of environment noise, maybe an increase in apparent stereo width. But that's it. Cheap headphones, attenuate highs and lows, add some harmonic distortion. Beats junk, roll up the bass... make it sound like crap. Hopefully that's the part in the film where the wearer is strangled with their headphone cord. |
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Outside of that, I don't know. The pain in the tushy toosh was foleying the button clicks as while he did know how to code, the rhythm is off by a bit on a cut. So THAT took a while lol. But it's all being funneled into his headphones. I've added various hums and static and self recorded dialogue for all the other speakers he's surrounded by, and It'd be cool to be able to have those muffled like they are outside the noise cancelation headphones (or headphones that fully cover the ears. |
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Bugs have a different sound than straight keys. With a bug you actually have two sets of contacts - one for dots and one for dashes. Each of those makes a slightly different sound. With a straight key you only have one set of contacts and you only get a 'click'. Depending on what the key is sitting on you'll get resonance from the table surface and some keys make more sound then others. I've got over two dozen keys (bugs/straight keys/Iambics) and each category has it's own sound and feel. When you have a good set of 'phones you should only hear the dots and dashes being sent. Whether you also hear the ham on the other end depends on how the sending ham has their rig set. Full breakin versus semi-breakin will allow one to hear what the other op is sending between dots and dashes and that sensitivity is set by the sending op. I know it's a bit of ham-speak but it's the best way I can describe it. Most ham radio voice audio is band-limited to between 300 and 3000 Hz. Morse code (CW) is limited to way less - often 500 Hz or less depending on how crowded the bands are in the op's preferences. edit for additional: Here's links to just two Morse Code conversations: https://www.youtube.com/watch?v=GvQ_UnePS7w I love this one - notice how relaxed the op is: https://www.youtube.com/watch?v=i8Ed0TSp0gs Guitarist Joe Walsh is a ham also - call sign WB6ACU Rhythm - not all ham ops send at a steady rhythm. Some have a bit of swing in their code timing like a drummer sometimes has. It's how in olden days you could tell one Morse operator from another whether he be a ham, railroader or ship board operator. |
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Again watch the videos I linked to. Found them via Google. |
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