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I would go freakin crazy trying to sync that many tracks simultaneously, especially since they all need slightly different adjustments and I usually listen (and look at the waveform) for the sync (and when it goes out-of-sync) It's the biggest amount of audio tracks I have ever synced for a single project.
Back to topic: Take your time man and let us know when it's ready. Looking forward to this project's release.
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So I'm re-syncing the THX LD's AC-3 and I had forgotten how strange this track is. Not that you would notice outright anything odd but syncing to the BD's soundtrack, you notice not only all the line changes but the dozens of music cues differences and foley changes. It really feels like a early temp track.
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Thanks guys but I'm actually done. All three tracks are in sync (I hope), video is good to go, just need to mux it all together and pop in some subs.
I might also get MI:GP done also this week. So I'll probably need volunteers to check them both.
After that its back to Road Warrior
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2015-11-11, 11:20 PM
(This post was last modified: 2015-11-11, 11:22 PM by TServo2049.)
How is the tracked cue from Freud mixed in with Goldsmith's original intended cue on the THX version? Someone on OT did a comparison, and on the pre-THX Dolby Surround PCM LD (which I presume is the theatrical 35mm Dolby Stereo mix), Goldsmith's actual composed track is buried in the surround but is still audible. (I know it's only in the surround because I happened to be listening through my mono iPhone speaker, couldn't hear anything but the Freud cue, then heard bothwhen I plugged in my headphones. When you fold Dolby Stereo to mono, the surround information is cancelled out because it is phase-inverted in the right channel compared to the left.)
I'm wondering, does the THX have the original cue any more audible, any less audible, or is the Freud cue even tracked in at all?