The idea is to have a strong “good” signal and a weak noise level. This ratio of desired audio versus noise is known as signal-to-noise ratio. You also need the noise in the environment to be as negligible as possible. Two tools will determine how you treat your audio: your ears and the equipment that gets the sounds to them.ĭuring production you need to get the strongest audio signal possible without it being too loud.
The importance of your listening environment cannot be overstated.
From setting up your working environment to adjusting levels to adding effects, you’ll work with audio just like the pros do. Because you don’t always get to work with perfect audio, this chapter also features a section on how to fix common audio problems using Adobe Premiere Pro and Adobe Audition CC. This chapter will help you start to generate great audio in your program. “Fixing audio in post” is unrealistic and will rarely yield good results. Most people perceive video as being of lower quality if the audio is low quality, which means that you can improve your production quality by improving your audio quality.Īlthough this book is about postproduction, keep in mind that maintaining good quality audio in the production process will be invaluable in the postproduction stage. But without basic knowledge of what to do, they usually fail. So, they’ll experiment with different volume levels and effects, trying to get a good mix and balanced audio. In many cases, even good and experienced editors have never seen an audio engineer at work, and have no idea about how to start. However, I find that most people in my classes lack basic audio knowledge and the know-how to create a good, solid audio mix of their work. Please see “A note about downloadable content” in the Introduction of this book. This chapter’s project files are available for download.
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