The Cinema Sound Education

The 85+ hour Cinema Sound education is the only comprehensive audio education of its kind in the world..It takes viewers from the most basic understanding of recording and mixing all the way through the highest level of Hollywood-level audio immersion and surround sound tips and tricks. This is mandatory knowledge and skills if you intend to compete in the media marketplace. Your competition knows all this, and Cinema Sound members are:
  • mastering their outputs to deal with the brain’s hearing sensitivities
  • creating internet loudness that forces their listeners to subconsciously LIKE their product better than yours
  • making their dialog cleaner than yours
  • learning how to layer sounds in the mix so their emotional impact is stronger than yours
  • editing their audio faster and smarter so they can spend time on the other areas of post production
  • creating Hollywood-level immersions for their audiences so they can manipulate them to believe whatever they want – and sell them on concepts, products and beliefs
  • spending 40% less money on post production because they learned how to solve problems before they got there
  • using the right microphones and recorders with tricks no longer taught in film school to get the most out of production sound so there’s little to no ADR
  • using this old-time-but-forgotten trick to do ADR in 1-tenth the time you can
  • using and editing music so that audiences are emotionally manipulated to feel what our members want them to feel from moment to moment.
Unlike other education programs where you’re left to yourself to figure things out, Cinema Sound purchasers have direct access to the main instructor, Mark Edward Lewis via e-mail, his live show and via the Cinema Sound Facebook Group. If you don’t purchase the Cinema Sound education, you’re already behind everyone else.

Want to know what you’ll learn? Here’s the entire curriculum:

In the “Record Volume” you’ll learn EVERYTHING you need to know about how to record great sounding audio on set, and for your podcast. Everything from Microphones, recorders, positions, safety concerns, process, solving issues, what to put on the audio cart, wireless, lavaliers, wedding videos and so much more. Over 9 HOURS of education not available anywhere else for lifetime purchase and unlimited streaming. You can purchase the ENTIRE Record Volume by clicking here:

In this first chapter of the Record Volume, Mark introduces us to the theory of good recording, and he begins revealing some Hollywood secrets about getting audio recorded well.

Chapter ContentsRun Time
Introduction 00:00:07:12
The Process of Recording 00:00:47:12
MX-DX-SFX Highest & Best Use 00:01:29::09
Cinema Sound – The Power of Sound 00:09:23:19
MX-DX-SFX Demonstrated 00:13:54:21
“The Secrets of Sound ” 00:19:44:23
The Reality of It 00:21:58:23
Launch! 00:23:59:13
Recording Inspiration 00:25:18:13
Recording Terms 00:26:50:11
Determining Volume 00:56:44:00
What Is Sound? 00:58:01:16
Nature of the Ear and Hearing Loss 01:01:45:00
Nature of Digital Recording 01:04:39:00
Bits Vs. Samples 01:08:55:00
What Recording Settings To Use 01:10:39:00
The Worst Recording Formats To Use 01:23:40:00
“Audio Psychology & Zero dB ” 01:32:36:00
Constructive Use of Distortion 01:33:37:00
Wrap Up 01:35:45:00

In this chapter, Mark goes over requirements of getting a good recording: gear settings, location scouts, safety, and how the brain processes sound in general.

Chapter ContentsRun Time
“Avengers: Age of Ultron” Review 00:00:07:00
The Most Powerful People On Set 00:01:50:00
Audio Location Scout 00:05:00:00
10 Things To Listen For On Location 00:07:18:00
The Speed of Sound 00:19:12:00
Delay Example 00:21:08:00
Evil Sound Recordists 00:24:49:00
Phase Issues Introduced 00:27:41:00
Understanding Distance to Camera 00:28:46:00
Editing at Sample Resolution 00:32:09:00
Inverse Square Law 00:35:07:00
Inverse Square Law On Set 00:35:32:00
Sensitivity of Hearing 00:38:29:00
Hearing Test 00:42:21:00
The Hearing Curve in EQ 00:52:01:00
EQ Curves on Dialog 00:59:47:00
“3:10 To Yuma” Review 01:02:57:00
Field Recording Checklist 01:05:47:00
What Goes In the Audio Bag 01:16:50:00
Condensor Vs. Dynamic Microphones 01:22:59:00
Recording Gunfire 01:24:44:00
Earplugs 01:27:02:00
Equipment Safety 01:29:05:00
What Goes On The Audio Cart 01:33:34:00
Personal Saftey While Recording 01:49:13:00
Breaking Down the Script 01:55:52:00
Making an Audio Log 01:56:54:00
Wrap Up 01:58:38:00

In this chapter Mark goes over the major kinds of microphones used on set and how to protect them from wind including demonstrating what several sound like. We also take a brief tour through the Rode Microphones facility.

Chapter ContentsRun Time
Introduction 00:00:08:00
“2001” Review 00:00:32:00
Saramonic Microphone Explanation 00:02:47:00
Where do Microphones Come From? 00:03:42:00
How a Microphone Works 00:04:34:00
Microphone Comparisons – Cardioids 00:06:46:00
Microphone Comparisons – Hypercardioids 00:12:49:00
On Camera Mic Comparisons 00:18:03:00
Omni Mic Comparisons 00:22:07:00
iPhone Mounting and Audio 00:24:80:00
Wind Shredders Comparison 00:28:18:00
Fan Demonstration 00:30:54:00
Blow Drier Demonstration 00:36:25:00
Microphone Recap 00:38:54:00
Wrap Up 00:39:35:00

In this chapter Mark goes over wireless transmission, the concerns around the FCC, wedding recording, lavaliers, keeping mics from being destroyed and understanding how it all works together.

Chapter ContentsRun Time
Introduction 00:00:06:00
Lavaliers & Placement 00:00:26:00
Placement & People 00:05:31:00
Wedding Placement 00:07:07:00
Wedding Videos & Foley 00:14:40:00
Mics & Hairspray 00:17:36:00
How Wireless Works 00:20:23:00
Diversity 00:24:01:00
The FCC 00:31:03:00
Dealing with RF Hits 00:37:20:00
Rycote/Invisilav/Moleskin Showdown 00:39:55:00
Transmitter Wattage Concerns 00:44:25:00
Wrap Up 00:45:54:00

In this chapter, Mark shows us about Boom Pole protocols, how to get voice overs, handling phase issues, the folly of on-camera mics, and how to deal with reflective rooms.

Chapter ContentsRun Time
Introduction 00:08
“Death Race” Review 00:38
Boom Pole Holding 02:11
One-Man-Band Booming 04:02
Solving Water Issues 08:29
On Camera Mics 10:34
Lav Placement 15:21
Capturing Foley on Set 17:44
Miking the Action 20:55
Where to Speak 22:56
Recording Interviews 24:12
Getting Voice Over 25:18
ADR vs. VO 37:28
Why Record Well? 38:57
Recording in a Car 42:12
Slap My Phase 47:17
Killing On-Set Playback While Recording 47:29
All Mics Up Demonstration 53:46
Recording In Reflective Rooms 57:32
Wrap Up 01:04:36

In this chapter Mark takes through the process of recording, how to best use your recorders to their fullest potential, and make sure you’re doing the right things at the right times while on set.

Chapter ContentsRun Time
Introduction 00:05
“300” Review 00:35
Process for Recording 04:15
Script Preparation 08:54
Dialog Levels 10:11
Sending Audio to Camera 11:21
Letters for Logging 15:34
The Job of a Boom Operator 16:13
“In the Mean Time” for the Recordist 17:21
“Roll Sound!” 19:40
Slating 22:08
How to Listen After “Action” 23:24
Impulse Response Recording 24:59
When is the Best Time to do ADR? 27:31
“Avengers” Review 29:32
Process for Using a Recorder 31:29
Zoom H6 Menus 33:36
VU vs. Peak Meter Settings 42:18
Recording Enough “Dead Air” 42:33
Recording Ambiences 43:11
Ambiences with X/Y microphones 43:34
Ambiences with M/S microphones 44:16
Decoding M/S files 45:43
Ambiences with Hypercardioids 55:56
Ambiences with M/S Hypercardioid 57:34
Timecode 58:32
Jam Sync vs. Gen Lock 01:02:00
3.5mm vs. XLR 01:05:41
Wrapup 01:07:12

In this chapter we watch Mark debunk most of the issues we find on set from simple gear issues to how to prevent anything bad from happening.

Chapter ContentsRun Time
Introduction 00:05
“Gravity” Review 00:40
Choosing a Sound Recordist 03:00
Mic Issues 03:25
On Camera Mics 04:01
Wireless Transmission 04:31
Cable Lengths 06:29
Dealing with Clothing Rustle 08:01
Cable Rustle 09:23
Cable Shorts 11:28
Low Frequency Rumble 11:57
Hums 12:52
Too Much/Little Volume 15:23
“Motorboating” 17:49
Recording Malfunction 18:12
Recording Protocols 19:37
“Crushed” Sounding Audio 20:51
Low Level Listening 21:52
Distortion 23:15
Temperature Issues 24:56
Corrupted Files 26:27
Condensor Microphone Care 27:36
Ice issues 29:10
Water Issues 29:50
End-to-End Gear Solutions 30:55
End-to-End Gear Solutions with a Lav 39:12
Cable Care & Theory 45:54
Wrapping Cables 55:53
Wrap Up 01:04:22:00

In this chapter, we go over the basics of what Mark has been teaching regarding recording in a 10 minute, fast paced review.

Chapter ContentsRun Time

This chapter is a Behind The Scenes look at how all the example videos for Cinema Sound were shot and recorded.

Chapter ContentsRun Time

In the “Edit Volume” you’ll learn the elusive and sometimes overlooked aspects of making sound smooth, workable and even making things sound better than they are. Using Adobe Audition as the platform, you’ll learn to import from NLE-to-DAW and cut room tone, ambiences, how to best use cross fades, organization, and even how to turn dull sound effects into powerful Hollywood show-stopping-masterpieces, all while watching Mark do the edit in 5 real-world scenarios.

In this chapter Mark fires the opening salvo of information regarding the mysteries of audio editing, and he gives us the basic tools which don’t translate from NLEs – and which are mandatory to get audio organized and ready for the Fix and Mix.

Chapter ContentsRun Time
Introduction 00:00:06
The Purpose of Editing 00:00:40
Why Digital Audio Workstation (DAW)? 00:03:00
Why Edit Dialog? 00:04:35
ENG Sequence Before and After 00:05:37
Beach Sequence Before and After 00:06:13
Donuts Sequence Before and After 00:06:48
Macbeth Sequence Before and After 00:07:48
Action Sequence Before and After 00:08:52
Dialog Editing Introduction 00:10:22
Lead-Time in the Timeline 00:11:13
NLE Timeline Organization 00:11:51
Plural Eyes Audio Synchronization 00:13:06
Solving Sync Problems in Premiere Pro 00:19:26
Sample Accurate Sync in Premiere Pro 00:22:43
2-pop Creation and Why We Must 00:32:46
Tail Pop Creation 00:37:58
Export Audio from Premiere Pro to Audition (Dynamic Link) 00:40:22
Export Audio into Premade Template 00:47:56
Audition Preferences Explained 00:58:00
Key Commands to Have 01:09:43
Wrap Up 01:23:15

In this Chapter Mark covers knowledge about editing which isn’t widely known including the right kinds of crossfades to use, normalizing dialog, looping room tone secrets, syncronization mysteries and an overview of the DAW.

Chapter ContentsRun Time
Introduction 00:00:06
Getting to Know Adobe Audition/DAWs 00:00:54
The Mix Window 00:11:27
File Organization 00:16:14
Normalize Dialog With the Essential Sound Panel 00:24:04
Using the Right Crossfades 00:28:12
Sample Editing 00:37:49
Cutting In Room Tone 00:47:45
Advanced Room Tone Editing 00:58:36
Looping Room Tone 01:05:24
Dialog Sync Basics 01:08:51
Wrap Up 01:21:15

This chapter is strongly weighted toward cutting ADR and all the functions which are required to get that handled including a surprise from Adobe.

Chapter ContentsRun Time
Introduction00:00:06
Cutting In ADR (Macbeth)00:00:32
Cutting In ADR (Action)00:11:26
Cutting In ADR (Beach)00:23:17
Automatic Speech Allignment (Action)00:45:47
Automatic Speech Allignment (Beach)00:50:06
Wrap Up00:52:08

In this chapter Mark takes us through three EXTENSIVE edit jobs for the Macbeth, Donuts and brutally noisy Beach scenes.

Chapter ContentsRun Time
Introduction 00:00:06
Dialog Cutting 00:00:41
Dialog Spotting (selecting the right mic) – Macbeth 00:07:01
Dialog Spotting (selecting the right takes) – Beach 00:39:39
Dialog Re-Import (for better takes) 00:47:57
Dialog Re-Import Redux 00:54:31
Different Take Dialog Syncing 00:58:51
Dialog Re-Import Re-Redux 01:06:35
Different Take Dialog Syncing Redux 01:07:48
More Editing Examples (Beach) 01:09:37
More Dialog Re-Import Examples 01:14:16
More Different Take Dialog Syncing 01:15:32
More Editing Examples (Beach) 01:17:15
Searching for Better Takes (bird noise fix) 01:19:30
Searching for Better Takes (truck noise fix) 01:21:39
More Dialog Editing Examples 01:23:01
Different Take Syncing 01:24:15
More Dialog Editing Examples 01:29:00
Searching for Better Takes (surf noise fix) 01:30:37
More Dialog Editing Examples 01:35:19
Searching for Better Takes (surf noise fix) 01:37:59
More Dialog Editing Examples 01:39:08
Dialog Spotting (selecting the right mic in stereo/surround) – Donuts 01:47:46
Multiple Mic Cutting 02:03:26
Wrap Up 02:07:21

In this Chapter Mark takes us through One-More-Pass of Editing and covers everything from special Room Tone Tricks to fix horrific surf-laden DX to stereo DX editing, cutting final voice overs and what to do if your DX goes out of sync in the editing process.

Chapter ContentsRun Time
introduction 00:00:04
Final Editing & Room Tone (Macbeth) 00:00:40
Final Editing & Room Tone (Action) 00:22:18
Last Minute ADR Editing 00:29:52
Voice Over Editing (Donuts) 00:36:42
Stereo Dialog Final Edit (Donuts) 00:39:44
Re-Syncing Dialog From An Accidental Timeline Move 00:44:29
Mono Compatibility Check for Stereo Dialog 00:46:44
Visual Dialog Syncing 00:48:02
More Final Dialog Editing Examples (Donuts) 00:52:43
Final Editing & Room Tone (ENG) 00:56:55
Exporting Dialog 01:03:29
Introduction to Special Room Tone Magic 01:11:23
Special Room Tone Magic (Beach) 01:12:02
Wrap Up 01:32:29

In this final chapter of the Edit Volume Mark shows us how to use simple editing tools to radically change the nature of sound effects

Chapter ContentsRun Time
Introduction 00:00:05
SFX Insertion & Editing Basics (Action) 00:00:43
Solving Production Noises with SFX 00:10:26
Solving Cut offs with fades and reverb 00:11:25
Magic Attacks for SFX 00:14:13
Wrap Up 00:24:22

In the “Fix Volume” you’ll learn how to fix nearly every kind of bad audio situation from simple noise to massive artifacts and bogies using Adobe Audition, iZotope RX and Magix Spectral Layers Pro. This volume is a master’s education in how to clean and perfect sound in addition to preparing deliverables for professional Hollywood export requirements and editing using 5 real-world short films. You’ll watch step-by-step as Mark takes you through dozens of examples from easy to horrific and get a great result.

In this chapter Mark takes us through the fundamentals of audio frequencies and how to know which sound like what, how best to use them, a general overview of iZotope RX, Adobe Audition, DAWs in general, the Essential Sound Panel and how to export using Dynamic Linking.

Chapter ContentsRun Time
Introduction 00:00:07
House of Cards Review 00:00:45
DAW Review 00:01:49
Audition Basic Tools and Use 00:04:28
Frequencies Identified and Explained 00:06:03
Frequencies Identified in Dialog 00:14:29
Frequencies Identified in Music 00:19:09
iZotope RX General Overview (Spectral View Explained) 00:24:42
Audition Basic Tools and Implementation 00:31:37
Spectral Layers Overview (Advanced Spectral View) 00:44:43
Getting Audio from Audition/DAW into iZotope RX 00:52:16
iZotope RX as in-DAW plugins 00:58:40
Adobe Essential Sound Panel 01:02:35
Export Audio & Video using Media Encoder (Dynamic Link) 01:18:10
Wrap Up 01:19:29

In this chapter Mark takes us through best practices of Normalizing audio, Denoising protocols and use, de-reverbing “roomy” dialog and how to create your own impulse response so you can get reverb issues handled in cleanup & ADR mixing.

Chapter ContentsRun Time
Introduction 00:00:07
“Dave” Review 00:01:07
Protocols for Denoising/DX Fixing 00:03:43
Normalizing Best Practices 00:04:37
Fixing Distorted Audio with RX 00:08:41
Fixing Noisy Audio with RX (multiple examples) 00:17:07
Using Adaptive Noise Profiles with RX 00:38:28
Using RX Dialog Denoise 00:39:31
Adding EQ profiles to Denoise 00:42:06
Using iZotope De-Reverb 00:45:38
Using Impulse Responses wtih De-Reverb 00:51:03
DIY Impulse Response Creation 00:58:41

In this chapter Mark shows us how to handle every-day noise and artifact issues including mic bumps, noise, crackle, pitches, plosives and integrated noise issues.

Chapter ContentsRun Time
Mild Artifacts Example 1: Declick00:00:08
Mild Artifacts Example 1: Decrackle00:05:43
Mild Artifacts Example 2: Spectral Repair – Pitch00:09:47
Mild Artifacts Example 3: Spectral Repair – Traffic00:18:59
Mild Artifacts Example 4: Factory: Noise & Multiple Pitches00:30:51
Mic Bumps Example 100:42:41
Mic Bumps Example 200:51:24
Integrated Noise Solutions Example 100:56:25
Integrated Noise Solutions Example 201:11:09
Dealing with Plosives01:20:55
Wrap Up01:27:40

In this chapter we get down and dirty with advanced knowledge of fixing real-world issues we face from loud background elements in our dialog.

Chapter ContentsRun Time
Introduction 00:00:06
“Star Wars” Review 00:00:38
Fixing RF Hits 00:02:42
Removing Sirens/Harmonic Pitches 00:10:38
Understanding the Nature of Overtones (Train Horn) 00:19:15
Understanding the Nature of Overtones (Plane Engine) 00:26:59
Fixing Dialog Against Traffic 00:30:25
Fixing Dialog Against Crickets 00:45:54

In this chapter we are walked through step-by-step methods for dealing with strong background noise on dialog in the form of several examples. We also learn how to use Zynaptec’s anti-digital-artifact plugin: Unchirp.

Chapter ContentsRun Time
Multitude of issues: Crickets, flies, birds, desert 00:00:07
Multitude of issues: Traffic, Trains, Noise. 00:15:07
Using Zynaptec: Unchirp 00:25:38
Multitude of Issues: Street Corner 00:31:48
Wrap Up 00:53:16

In this final chapter of the Edit Volume Mark shows us how to use simple editing tools to radically change the nature of sound effects

Chapter ContentsRun Time
Introduction 00:00:05
SFX Insertion & Editing Basics (Action) 00:00:43
Solving Production Noises with SFX 00:10:26
Solving Cut offs with fades and reverb 00:11:25
Magic Attacks for SFX 00:14:13
Wrap Up 00:24:22

In this chapter Mark begins the process of actual dialog cleanup in the example videos beginning with the “action sequence” including cleaning up lavs, shotgun mics, and production audio.

Chapter ContentsRun Time
Introduction 00:00:06
“Raiders of the Lost Ark” Review 00:01:14
Action Scene Dialog Clean Up Sequence 00:01:14
– Voice Over Cleanup 00:03:48
– Lavalier Cleanup – Becky 00:11:25
– Hypercardioid (Boom) Clean up – Becky 00:24:57
– Hypercardioid (Boom) Clean up – Production Sound 00:33:54
– Lavalier Cleanup – Kolton 00:53:45

In this chapter we continue with dialog clean up of the example scenes with the horrific Beach scene and Donut scene where we deal with mono and stereo dialog and begin working with batch capture functions in iZotope RX.

Chapter ContentsRun Time
Beach Scene Dialog Clean Up Sequence
– Hypercardioid (Boom) Clean up – Robbie 00:00:06
– Hypercardioid (Boom) Clean up w Expander – Robbie 00:06:42
– Lavalier Cleanup – (Robbie in Becky’s Mix) 00:17:28
– Surgical Selection and Destruction of Noise 00:24:14
Donut Scene Dialog Clean Up Sequence
– In Car Cleanup in Stereo Dialog 00:31:16
– Batch Denoise in iZotope RX 00:40:47

In this chapter we look deeply at cleaning lavaliers, de clipping, and special tools for dealing with clothing rustle, and how to insure we don’t lose our master audio files when doing destructive editing.

Chapter ContentsRun Time
Macbeth Scene Dialog Clean Up Sequence
– Lavalier Clean Up – Becky (De-Reverb/IR use/Expansion) 00:00:09
– Backing Up Audio Files Before Fixing Them 00:13:35
– Lavalier Clean Up – Becky (De-Reverb/IR use/Expansion) Continued 00:16:20
– Distorted Audio Fix – Becky 00:31:40
– Lavalier Clean Up – Becky Continued 00:34:15
– De-Reverb/Expansion Wrap Up 00:40:58
– Lavalier Clean Up – Josh (Clothing Rustle/De-Crackle) 00:42:17
ENG Scene Dialog Clean Up Sequence
– Lavalier Clean Up – Becky 00:44:12
– Lavalier Clean Up – Prof. Snurd – De-Clip 00:48:37
– ENG Scene Wrap Up 00:51:08
Wrap Up 00:51:40

In this chapter we discover the wonders of looping vs. ADR and we’re shown how to do it with examples from the Action scene. 

Chapter ContentsRun Time
Introduction 00:00:05
Star Wars: The Force Awakens Review 00:00:19
The Revolution of Looping Vs. ADR 00:03:28
Looping Demonstrated 00:10:29
Looping Demonstrated with Becky 00:21:56
ADR/Looping Organization & Sync/Editing 00:28:07
Wrap Up 00:37:50

In this chapter Mark shows us how to mix ADR/Looped dialog into on set dialog so we can have seamless transitions between them in the mix

Chapter ContentsRun Time
Introduction 00:00:06
“X-Men” Review 00:00:32
Basic ADR Mixing with Standard EQ 00:03:12
Advanced ADR Mixing with Match EQ via iZotope Ozone 00:17:29
Backing Up Clips in Adobe Audition When Destructive Editing 00:22:57
Advanced ADR Mixing with Match EQ via iZotope Ozone Continued 00:27:38
Advanced ADR Mixing with Reverb 00:47:01
Using Impulse Responses in ADR Mixing 00:51:42
Wrap Up 00:57:50

In this chapter Mark takes through the Beach scene doing the final strokes and tweezing which is needed to get the dialog mix handled.

Chapter ContentsRun Time
Introduction 00:00:06
“Man of Steel” Review 00:01:05
Distance to Camera Mixing Introduction 00:02:48
Final Fixing Process Protocols 00:04:24
Organization 00:06:31
The Basic Dialog Grade (Beach/Robbie) 00:15:13
Uniform Volume Using Essential Sound Panel 00:32:04
The Basic Dialog Grade (Beach/Becky) 00:36:14
Room Tone 00:44:57
Ambiences Consideration 00:46:41
Balancing Character Sound & Timbre 00:48:07
Dialog Compression 00:52:01
Using Waves Vocal Rider 00:57:50

In this chapter Mark takes us through export considerations for Dialog, special effects on dialog, dealing with dialog norm and compliance, stereo room tone, and how to deal with compression on export.

Chapter ContentsRun Time
Dialog Norm, Levels, Automation and Compliance (Beach) 00:00:09
Muting and Organization of Reference and Unused Tracks 00:19:07
Distance to Camera Mixing Begun (Beach) 00:20:01
Compression in Dialog Exports 00:30:25
Special Dialog Considerations and Effects (Donuts) 00:35:41
Using Dialog Bussing 00:47:11
Using Stereo Room Tone 00:50:39

This chapter completes the Fix volume with the final examples of basic dialog grade, compliance, automation, dialog norm and final exportation.

Chapter ContentsRun Time
Basic Grade (Macbeth – Josh) 00:00:07
Basic Grade (Macbeth – Becky) 00:04:37
Adding Multi-Band Compression to Dialog 00:11:47
Dialog Norm, Levels, Automation and Compliance (Macbeth) 00:16:10
Using Unveil in Macbeth 00:32:34
Multi-Band Compressor on Dialog Bus Redux 00:36:07
ENG Basic Grade (Becky) 00:37:30
Multi-Band Compressor Use (Becky) 00:42:06
ENG Basic Grade (Prof. Snurd) 00:42:48
Multi-Band Compressor Use (Prof. Snurd) 00:47:05
Dialog Norm, Levels, Automation and Compliance (ENG) 00:50:56
Final Dialog Export 00:58:08
Wrap Up 01:03:29

In this chapter, Mark takes us on a tour of dealing with fixing sound using exclusively Adobe Audition.

Chapter ContentsRun Time
Introduction 00:00:07
Intro to Adobe Audition Spectral Editor 00:00:32
Basic Denoising 00:02:21
Dealing with Mic Bumps 00:07:32
Advanced Denoising 00:14:26
Dealing with Noise, Birds & Trucks 00:24:45
Dealing with Planes 00:36:01
Dealing with Trucks Redux 00:44:09
Dealing with Clicks & Pops 00:50:14
Batch Denoising 00:54:54
Wrap Up 00:58:02

In the “Effects Volume” you’ll learn everything you need to know in order to create powerful Hollywood-level immersive audio for your productions. From how to record your own foley to layering sound effects, to creating surround sound ambiences and even how to create and have fun making loop group sessions, this volume covers it all. Included in this volume is also the kinds of microphones to use for best results when recording sound effects and the best way to process and mix sound effect for the final stages of re-recording in post production.

In this Introductory chapter to the effects volume, we jump right in to spotting the five example videos for foley and sound effects.

Chapter ContentsRun Time
Introduction 00:00:07
“Dark Knight” Review 00:00:36
Terms 00:03:57
ENG Foley Spotting 00:05:56
Macbeth Foley Spotting 00:15:09
Action Foley Spotting 00:26:31
Donut Sound Effect Spotting (Front) 00:35:19
Donut Foley Spotting 00:43:18
Donut Sound Effect Spotting (end) 00:52:59
Beach Foley Spotting 01:02:14
Wrap Up 01:07:54

In this fun chapter, we are taken through many sessions of recording foley and shown how to most efficiently capture great foley performances.

Chapter ContentsRun Time
Introduction 00:00:07
“House of Cards” Review Example 2 00:00:49
Foley Creation Introduction 00:01:52
Foley In The Closet (Coming Into the Closet) 00:03:40
Foley Pits 00:08:55
Shoes for Foley Footsteps 00:13:46
Shoe Demonstrations 00:14:55
Wedding Foley 00:17:08
Recording Foley 00:20:16
Setting Adobe Audition 00:22:45
Recording Footsteps (Sand) 00:24:35
Recording Sand Footsteps for Beach Scene 00:28:16
More things to Consider in Recording Sand Footsteps 00:32:22
Drops and Sand Effects 00:33:02
Clothing Foley Cheats 00:35:55
Jackets on and Off (Beach) 00:38:54
Shoes on Concrete (Action) 00:42:07
Complex Jacket Removal (Action) 00:50:39
Clothing Handling for Foley 00:52:47
Using Foley to Solve Continuity Issues 00:56:26
Gun Foley 00:58:46
Solving Foley Box Wall Primary Reflections 01:01:13
Footsteps for Macbeth 01:02:44
Doing Wild Footstep Foley Off Camera 01:04:27
Inverted Shoe Motion (Macbeth) 01:06:40
Dog Foley 01:08:14
Footsteps on Grass (with Tape) 01:09:21
Footsteps on Grass (Donuts) 01:12:13
Clothing Foley Example (Donuts) 01:14:42
Complex Backpack Layering Foley 01:17:11
Multiple Foley Sounds Simultaneously 01:20:22
Complex Clothing Foley Cheats (Shirt Pull Down) 01:23:35
ENG Foley Considerations 01:25:17
Ideal Footstep Techniques 01:29:27
Wrap Up 01:30:53

In this chapter we discover ways to fool the brain with “foley cheats”, how to manage multiple noisy foley recordings with “batch capture,” we’re introduced to DTC mixing, and we have our first look at controlling foley from a keyboard.

Chapter ContentsRun Time
Introduction 00:00:06
Foley Organization and Routing 00:00:39
Batch Denoise – Adobe Audition 00:06:51
Batch Denoise – iZotope RX 00:14:18
Foley Editing 00:22:05
Foley Mixing Basics 00:24:28
Distance To Camera Mixing – Foley 00:34:05
Distance To Camera Mixing Macbeth 00:35:23
Foley Sound Cheats Introduction 00:40:13
– Watermelon (body stabs) 00:41:15
– Corn Starch (footsteps in snow) 00:42:53
– Grass/Leaves (Cassette Tape) 00:43:20
– Bones Breaking (Baked Chicken Bones) 00:43:37
– Chain Link Fence (Metal Rake) 00:44:16
– Bird Wings (Leather Gloves) 00:44:43
– Face Punch (Meat) 00:45:08
– Body Punch (Sand Bag) 00:45:32
– BIG Punch (Phone Book) 00:45:39
– Head Crush (Romaine Lettuce) 00:46:21
Foley Across Keys in Logic Pro 00:47:13
Slate Digital Raven Introduction 00:48:26
Foley Across Keys in Logic Pro – Continued 00:52:24
Foley Across Keys in Logic Pro – Example 2 01:06:29
Keyboard Mapped Foley Practical Example 01:18:24
MIDI In Adobe Audition with Sample Tank 01:24:55
Wrap Up 01:40:01

In this fun chapter we learn all about loop groups, how to record them, how to have the performers perform, how to do loop group foley, and how to layer them all together.

Chapter ContentsRun Time
Introduction 00:00:06
“Mask of Zorro” Review 00:00:24
Loop Group Introduction 00:01:10
The Process of Loop Groups 00:02:48
Walla Recording Examples 00:05:28
– Light Conversation 00:05:28
– Loud Conversation 00:06:57
– Whispers 00:07:32
– Coversation Gender Specific 00:08:27
– “Goodbye!” 00:09:38
– Confusion 00:10:34
– Call Outs 00:12:18
– Shock & Awe 00:13:03
– Reactions 00:14:06
– Call Center 00:15:31
– The Brawl 00:16:53
– The Party 00:18:40
– Screams 00:19:38
– Crying 00:20:14
– Laughing 00:22:09
– Short Laughs 00:23:01
– “Whoah!” 00:24:27
– Crowd “Defense!” 00:24:55
– Applause 00:26:57
Foley Loop Groups 00:27:44
– Plate Foley 00:27:44
– Silverware Foley 00:28:50
– Toasting Foley 00:30:37
– Chair/Sitting Foley 00:31:45
– Carpet Zombies 00:32:46
Casting for Loop Groups 00:33:47
Recording Loop Groups on Set 00:35:39
Layering Loop Groups 00:36:45
Wrap Up 00:48:45

In this chapter we discover the importance of recording our own sound effects, how best to do it, how to sync and layer them in post, and we’re introduced to several amazing plugins.

Chapter ContentsRun Time
Introduction 00:00:07
Why Record Sound Effects at All? 00:00:36
What Microphones to Use in SFX Recording 00:01:54
Which Recorder to Use in SFX Recording 00:05:56
SFX Recording Levels 00:11:01
File Storage Considerations for Cards 00:12:16
Syncing and Layering SFX 00:14:46
Syncing and Layering SFX (Door Open) 00:27:35
Syncing and Layering SFX (Gun Fire) 00:33:48
Introduction: Zynaptiq Morph 00:40:36
Wrap Up 00:54:34

In this chapter we’re shown the value of understanding the distance from source to microphone, what different stereo and mono mic configurations do to the sound, how to always notice the sound effects around us, and how to best turn every day items into amazing SFX.

Chapter ContentsRun Time
Introduction 00:00:07
Microphone Distance Issues 00:00:56
Junkyard Sound Effects Examples 00:01:27
Junkyard Glass Examples 00:07:19
Microphone Uniqueness 00:09:26
Crash Cymbal Example (Hypercardioid) 00:09:58
Crash Cymbal Example (M/S Hypercardioid) 00:14:14
Mixing Bowl (Hypercardioid) 00:17:19
Mixing Bowl (X/Y) 00:20:05
Mixing Bowl (M/S) 00:21:27
Mixing Bowl (M/S Hypercardioid) 00:21:52
Tire Rim (M/S Hypercardioid) 00:23:09
Sound Effects Are Everywhere (The Cotton Silos) 00:27:13
The Singing Cotton Silo 00:33:09
The Semi Scale 00:36:46
The Cannon Wall 00:41:14
The Grate 00:43:42
Settings for SFX 00:44:47
Compression & Limiters 00:46:02
Sample Rates 00:47:19
Recording Ambiences 00:49:33
Ambiences with X/Y Mic 00:51:28
Ambiences with M/S Mic 00:52:36
X/Y – M/S – H2N Contrasted 00:55:13
Multiple Microphone Recording – Train 00:55:36
Recording Ambiences in 5.1 00:59:10
SFX Layering With a Keyboard 00:59:58
Wrap Up 01:09:21

This chapter deal exclusively with the beginning theories and practices of turning ordinary sound effects into cinematic works of punchy, groovy and exciting art.

Chapter ContentsRun Time
Introduction 00:00:08
“Raiders of the Lost Ark” Review 00:01:15
Simple EQ 00:06:13
Pitch Shifting 00:28:50
Doppler 00:38:32
Distortion 00:43:55
– Bit Crushers 00:51:29
– Guitar Amp Convolutions 00:52:49
Harmonic Enhancement – With Zynaptiq Morph 00:53:32
Harmonic Enhancement – With MC Transformer 00:54:28
Harmonic Enhancement – With Waves Lo-Air 00:55:14
Harmonic Enhancement Speedboat Example 00:55:53
Harmonic Enhancement with Zynaptiq Unfilter 00:58:44
Harmonic Enhancement Mortorcycle Example 01:00:04
Flanging Effects – Things Moving Away 01:02:22
Stereo Expansion 01:08:50
Wrap Up 01:19:23

This chapter comprises the advanced knowledge and use of Adobe and iZotope plugins to completely transform a recording into something more useful in cinema.

Chapter ContentsRun Time
Introduction 00:00:07
The Sound Cube – Positioning Sound in a Mix 00:00:37
Notch EQ 00:04:51
Side Chaining Plugins 00:12:16
Resynthesis of Sound Effects 00:23:07
Spectral Casting 00:26:26
Advanced Resynthesis 00:30:38
Vocoder Effects 00:40:12
Crunching Whisper Effects 00:45:46
Processing Finger Hits 00:50:23
Pig Squeal Into Monster 00:55:52
Burp Into Kaiju 01:00:02
Wrap Up 01:02:57

This fun chapter shows us how to misuse software to create untold riches of sound scapes and effects from ordinary recordings.

Chapter ContentsRun Time
Introduction 00:00:07
Spectral Drawing using Adobe Audition and iZotope RX 00:01:00
Denoise 00:13:45
Adding More Crunching to a Denoise Crunch 00:17:34
Denoise Mashup 00:19:49
Spectral Repair 00:23:08
Deconstruct Crunch 00:28:09
Deconstruct Crunch with the Truck 00:30:38
Full Mashup for Best Results 00:32:34
Full Mashup with the Truck 00:37:30
Full Mashup with an Ambience 00:42:06
Mashup in Adobe Audition 00:45:47
Wrap Up 00:46:49

This critical chapter shows us a few examples of the importance of layering sound effects and how to best do it by using the best parts of each layer to support the whole. It also deals with the exporting of sound effects.

Chapter ContentsRun Time
Introduction 00:00:07
Layering for Punches 00:00:50
Layering for Spaceships 00:19:54
Layering for Guns 00:48:11
Layering for Explosions 00:58:31
Exporting Layered Sound Effects 01:04:07
Sound Effects Insertion and Editing (Donuts) 01:07:13
Wrap Up 01:15:53

This chapter covers everything needed to understand how to use, layer, manipulate, edit and manage ambiences. All five of the example videos have their ambiences cut in during the last portion of this chapter.

Chapter ContentsRun Time
Introduction 00:00:07
“Master and Commander” Review 00:31:00
Ambiences Theory and Application 00:01:54
Different Kinds of Ambiences 00:05:17
Dealing with Mono Ambiences 00:17:58
Using Plugins for Stereo Enhancement and Mono Compatibility 00:18:58
Solving Mono Ambiences with Editing 00:23:04
Stereo Ambiences to Surround Ambiences 00:26:47
Layering Ambiences 00:38:05
EQing Ambiences 00:41:16
Inserting Ambiences (Action Scene) (Factory/industrial) 00:44:32
Inserting Ambiences (ENG Scene) (Human/Suburban) 00:58:52
Inserting Ambiences (Macbeth Scene) (room and panning) 01:02:04
Inserting Ambiences (Donuts Scene) (Car ambiences) 01:08:21
Inserting Ambiences (Beach) (Birds, surf, balancing room tone) 01:19:26
Wrap Up 01:24:05

In the “Music Volume” you’ll learn the secret knowledge which only the music composer masters know about how music moves audiences in productions. You’ll learn how to manipulate the emotions of your viewers by choosing the right music scene-by-scene, because you’ll learn the three major aspects of music and how they have been affecting audiences since the early operatic days. You’ll also watch Mark compose an actual scene and learn the magic behind what composers do. Additionally, you’ll learn how to choose the right library music and how to structure the deal with the independent composer.

In this introductory chapter on Music, Mark takes us through the basics of what makes music work, best practices for choosing music, how to identify what part of music is moving an audience, and a few fun examples of media without music.

Chapter ContentsRun Time
Introduction 00:00:07
Review: “Fantasia 2000” 00:00:43
Terms 00:03:05
How Does Music Do What It Does to an Audience? 00:09:22
Rhythm 00:09:52
Melody 00:20:05
Harmony 00:25:09
Compound Meter Example 00:34:34
Musical Examples 00:36:24
Media without Music Examples 00:54:37
“Star Wars” without music 00:56:10
Wrap Up 01:00:03

In this chapter, Mark shows us several “Hollywood” examples where the original music has been substituted so we can see how important getting the right music is. He also shows us the difference between Major and Minor keys, how to find our demographic, and how to use Music to make scenes move faster.

Chapter ContentsRun Time
Introduction 00:00:07
Music Substitution Examples
– “Independence Day” 00:01:18
– “The Avengers” 00:07:27
– “Inception” 00:13:49
Major & Minor Keys 00:28:14
Knowing What Music Goes In There 00:33:26
Knowing Your Demographic 00:40:14
The Nature of Temporal Compression (Macbeth) 00:47:28
Wrap Up 00:56:49

In this chapter, we learn advanced knowledge about when to musically “hit” visual elements on screen, the reasons to use (and not to use) loops in music, editing library music and how to insert and deal with issues from stems.

Chapter ContentsRun Time
Introduction 00:00:07
SFX Vs. Music 00:01:31
To Hit Or Not To Hit 00:15:06
To Hit Or Not To Hit (Action Sequence) 00:21:02
Fast Vs. Slow Music 00:28:50
Basic Tempo Map – Macbeth (Why Music Here?!) 00:38:51
Macbeth Cue Listen-Down 00:43:37
Explanation of Musical Beats (Macbeth) 00:45:38
The Nature (and Lies) of Loops 00:54:05
Loop Examples (Macbeth) 00:55:27
Loop Examples (Beach) 01:00:30
Loop Examples (Donuts) 01:03:31
Adding Stems to the Mix 01:07:41
Cutting in Library Music (Beach) 01:22:02
Wrap Up 01:35:06

In this chapter, Mark shows us how to make and export tempo maps, how to do music spotting, when to use library music or original score, and he demonstrates the spotting of all 5 example videos.

Chapter ContentsRun Time
Introduction 00:00:07
Review: “Dave” 00:01:16
The Process of Music 00:02:29
Why Library Music Instead of Original? 00:04:07
Why Use a DAW? 00:05:39
Music Spotting 00:06:35
Tempo Mapping 00:24:06
Exporting Tempo Maps 00:46:08
Tempo Maps in Non-MIDI DAWs (Audition) 00:49:56
Music Spotting – ENG Scene 01:02:44
Music Spotting – Beach Scene 01:03:53
Music Spotting – Donut Scene 01:10:36
Music Spotting – Macbeth Scene 01:13:33
Wrap Up 01:20:09

In this chapter, we learn the specifics around editing music from merging vastly different pieces of music to how to scan music waveforms for the appropriate start times, creating double the music use from the same music content and learning how to use Audition’s powerful “Remix” feature.

Chapter ContentsRun Time
Introduction 00:00:07
Visually Scanning Waveforms 00:01:51
Music File Start Issues 00:08:35
Crossfade Issues 00:10:08
Multi-Track Crossfading 00:18:11
Multi-Track Crossfading with Separate Tracks 00:24:51
Editing With Stems 00:27:39
Different Tempi – Different Keys 00:34:45
Different Tempi – Different Keys With Stems 00:47:52
Cutting With Reverb 00:55:28
Editing Highly Dynamic Music 00:58:05
Reverse Music – Expanding Library Music Use 01:07:21
Adobe Audition Remix 01:17:44
Wrap Up 01:25:48

In this chapter, Mark shows us how to find and structure the deal with composers, how to work with songwriters, editing suites of music (and why to do them), and how to create completely new music from editing stems.

Chapter ContentsRun Time
Introduction 00:00:07
How To Find Composers 00:01:06
Structuring the Deal 00:05:56
Dealing With More Than One Composer 00:12:01
Communicating With Your Composer 00:14:57
Working With Songwriters 00:19:50
Creating Suites of Music 00:21:54
Cutting Music Suites to Picture (Macbeth) 00:24:12
Creating New Music From Stems 00:47:57
Wrap Up 01:06:11

In this chapter we watch for nearly 3 hours as Mark creates from scratch the entire musical score for the “Action Sequence.” We learn how important having good spotting and an accurate tempo map is, how a sketch can inform a composer about the essence of a scene, how to quickly fill in orchestration, and how the process involved in exporting stems for the mix.

Chapter ContentsRun Time
Introduction 00:00:07
Adding Live Musicians to Your Score 00:00:37
Introduction to Music Creation in a MIDI DAW (Logic Pro) 00:02:29
Theme/Melody Creation and Use 00:04:03
The Beginning 00:06:18
Inserting the Glue 00:11:18
Composing Isn’t an Exact Science 00:17:52
The Fight Sketch 00:26:16
The Shooting Sketch 00:45:09
Sketch Complete. Filling In the Orchestration 00:48:18
Music Under DX (Second Section) 01:09:26
The Punch (Third Section) 01:26:58
The Fight! 01:42:15
The Shooting and Death 02:00:11
The First Play Down (See What Else is Needed) 02:15:03
Tweezing the Music 02:18:23
Time To Send to a Director 02:24:29
What Loops Do To the Score 02:24:54
Creating Stems 02:28:55
The Process of Stems 02:30:22
Wrap Up 02:50:42

In this final chapter of the Music Volume, Mark takes us through Hollywood Movie scene examples where the music has been slightly altered with library music from Musicbed.com and shows us the intricacies of choosing the right music for the right scene.

Chapter ContentsRun Time
Introduction 00:00:07
Introduction to Better & Best Examples from MusicBed.com 00:00:35
“John Carter” 00:01:32
“Independence Day” 00:19:13
“Inception” 00:29:45
“Man Of Steel” 00:35:27
“The Matrix” 00:45:13
“Blade of Honor” (Vocals) 00:50:15
“Wall-E” 00:58:30
Wrap Up 01:02:34

In the “Mixing Volume” you’ll learn EVERY aspect of what’s required to make a Hollywood-level immersive mix in stereo, surround sound or 3D audio. You’ll learn where to put every kind of sound in the 3D audio space, how to layer dialog with sound effects and music, how to export to legally required levels, and even how to create surround sound in any pair of headphones and deliver on Youtube! This 26 hour volume is the crown jewel of the Cinema Sound education and CANNOT be overlooked. There is no other education like it anywhere in the world.

In this chapter Mark walks us through the beginnings of a great mix including organization, process, intro to plugins and how you should mix every time.

Chapter ContentsRun Time
Introduciton 00:00:07
The “I Know Thats” 00:00:46
Terms 00:01:45
Spatial Audio Designer Introduciton 00:09:12
Compressers & Limiters Introduction 00:15:31
De-Esser Introduction 00:16:18
Signal & Bus Introduction 00:16:58
Stems Introduction 00:18:10
The Best Way to Become a Better Mixer 00:18:59
Editors and Mixing 00:21:29
Review “Man Of Steel” 00:23:36
The Process of Mixing 00:26:01
Session Organization 00:28:24
Busses and Organization in Adobe Audition 00:51:43
Routing Spatial Audio Designer 01:00:59
Myths Around Fader Use 01:10:03
Intro to Plugins 01:11:12
Sound Placement Theory in a Mix 01:12:27
Mix in Stereo or Surround? 01:16:40
Wrap Up 01:21:06

This chapter is an exposé on all things reverb: plugins, routing, use, mono, stereo and surround reverbs and adding special effects to reverb.

Chapter ContentsRun Time
Introduction 00:00:08
Review “X-Men” 00:01:09
Reverb Plugins Introduced 00:04:33
Waves TrueVerb 00:05:28
Mono Reverbs 00:08:20
Stereo Reverbs – Algorithmic 00:11:28
Stereo Reverbs – Convolution 00:16:44
Adaptiverb 00:27:49
Surround Reverbs 00:33:33
Issues with Surround Reverbs 00:38:16
Reverb Routing 00:42:43
Chorus on Reverb 00:46:19
Flanger on Reverb 00:47:53
EQ on Reverb 00:48:30
Pitch Shifting Reverb 00:49:18
Multiple FX on Reverb 00:50:00
Wrap Up 00:53:34