Unscripted Dialogue Editing Masterclass: Part 2

This is where things get real. No scripts, no second takes, just pure, raw audio captured in the heat of the moment.

The AAF you receive is your battlefield, and your mission is to craft a clean, clear, and engaging dialogue edit.

It's an exciting challenge, but it also requires a slightly different approach than scripted editing.

Here's the thing: I get it.

Scripted editing can feel like a well-oiled machine, with everything neatly laid out and predictable.

Unscripted editing throws a curveball – it's more like wrangling wild horses!

But fear not; with the right tools and techniques, you can conquer this frontier and emerge victorious (with amazing-sounding dialogue, of course).

Embrace the Lavalier Love

Unlike scripted shows where the boom mic reigns supreme, unscripted productions often rely heavily on lavalier mics.

These little guys get clipped right onto the talent's clothing, capturing their audio up close and personal.

While it might seem daunting at first, learning to edit with lavaliers is key to preserving the authenticity of those raw, unscripted moments.

Trust me, with a little practice, you'll be whipping those lavalier edits into shape in no time!

Respect the Mic's Fingerprint (Noise Profile)

Every microphone has its own unique sonic fingerprint, also known as its noise profile. This includes things like low-end hum or a slight high-frequency hiss.

When editing unscripted dialogue, it's crucial to be aware of these noise profiles, especially when dealing with multiple mics.

That's why I recommend using generous fill handles – those extra bits of audio at the beginning and end of each clip.

They provide a smooth transition between edits and help maintain the natural flow of the dialogue, even when switching between different mics with slightly different noise characteristics.

Taming the Multi-Mic Menagerie

Shows with multiple contestants or talent can get a little mic-heavy, and that's where things can get tricky.

Sometimes, offline editors might use a "mixdown track" – a single audio file that combines all the microphone signals from a particular scene.

While this approach can be helpful for picture editing, it throws a wrench in our audio editing world.

Here's the deal: if you receive an AAF with mixdown tracks, the first thing you need to do is communicate with the show's Assistant Editor to request the microphone isolation tracks, also known as ISOs. These ISOs allow you to focus on the specific mic you need for each speaker, without any unwanted bleed or interference from the other mics.

Go through the entire show and drop a marker anytime a mixdown file was used instead of the ISOs. Then compile all those timecodes and email the Assistant Editor on the show.

If the entire show was cut on mixdowns (or at least an egregious amount), have them redeliver a new AAF with ISOs cut.

Let them know that you'll need all the available microphone isolations in future AAF deliveries for each episode.

Remember, clear communication is key to a smooth workflow! Your mixer will thank you for doing the preliminary legwork to get the correct audio files into the session.

Volume Automation: Friend or Foe?

Sometimes, offline editors might add temporary volume automation to the dialogue tracks in the AAF. Now, while these adjustments might have been helpful during the picture edit, they can create friction while editing and when turning over to your mixer.

Here's my advice: before diving into edits, take a moment to clear any dialogue volume automation from the AAF. Double-check and confirm that these were technical adjustments, not creative mixing.

Technical adjustments are when the offline editor boosted or lowered a section of dialogue so that it can be heard clearly. Since these volume adjustments will be tackled by the mixer already, no need to keep them.

You’ll also find that some offline editors gain stage via volume automation versus clip gain. I prefer my dialogue clips to have a consistent gain stage per talent for each scene, so that I can dial in any intricacies myself. If you don’t do this, copy and pasting things like production fill introduces erratic volume automation throughout your edit.

An example of creative mixing is lowering the volume down on the clips because an interview bite comes in. I leave those bits in.

But here comes my biggest pet peeve from offline editors: fades via volume automation. Firstly, it doesn’t reduce any snats (digital clicks) from being introduced. If you were to extend the beginning or ends of a clip, sometimes that fade volume automation start/stop does not come with your clip extension. Which means your ears are in for a treat in playback

It also makes your timeline look messy. No bueno.

As part of your editing process, you should switch these volume fades to clip fades. This ensures that you're starting with a clean slate and have complete control over the volume of the dialogue during the official mix.

Clip Gain Adjustments: Setting the Stage for Mixing

Speaking of volume, offline editors might also adjust the volume of individual clips mid-clip using clip gain. This can be helpful for balancing the overall level of the dialogue, but it's important to remember that the final mix is where the magic happens.

Your job, as the dialogue editor, is to clean up these mid-clip volume adjustments. Delete any fades that were created for this purpose, smooth out any clip separations, and aim for a single, consistent clip gain level for the entire scene.

A good starting point for production dialogue is around -24/-25 LUFS. This gives the mixer plenty of headroom to work with during the final mixdown stage. It’s okay if things are dynamic; your goal is to be consistent and seamless.

Seamlessness Is Key

Follow the principle from the My Golden Rule of Dialogue Editing – let dialogue fill carry as long as the scene is on screen. This consistency maintains a seamless and immersive viewing experience. I’m a stickler for this, so it’s something I note very often!

Silence the Phasing Foe

Phasing. This dreaded audio phenomenon occurs when the same audio signal are playing slightly out of time, creating a thin, warbly sound. It's the nemesis of clear dialogue, and it's especially common in unscripted shows where multiple wireless mics are out of sync with each other.

The good news? Phasing can be vanquished!

If you suspect phasing issues, it's crucial to time-align any overlapping mics.

You can do this manually, which is a great way to train your ear and understand the nuances of phasing.

But let's be honest, time is often of the essence. That's where a plugin like Sound Radix's Auto-Align Post comes in – a lifesaver for any unscripted editor's arsenal.

This plugin can automatically detect and correct phasing issues, saving you precious time and frustration.

When I open an episode ready to be mixed, I expect out-of-phase clips to be aligned already. So keep a keen ear out for any phasing instances and audiosuite accordingly (remember to give us handles).

We’re only halfway through! There’s so much more ground to cover when it comes to dialogue editing for unscripted content. And again, if you want to see these principles in action, shadow my Superhot series at Post Audio Pro!