If it’s shorter, like our sub-clip below, we can insert it selectively into our scene and dissolve in and out of it. This way, it gets louder and softer during the dialogue. If it’s long enough, you can add a constant layer of this ambiance to your scene, then keyframe its volume level. Next, take the background noise and cut it in between the lines of your characters. This way, it’s at your fingertips when you need it and you don’t have to consume time hunting around for it. Make an audio-only sub-clip of that room tone or ambiance. This is optional, but we’ve always found it extremely useful. Step 2: Make a Sub-clip and Cut it In Between Character Lines But, if that’s not the case, you can always use waveforms to find areas where dialogue isn’t present. It’s most frequently the last thing done on set, so start by looking at the end of a clip. You need to find the room tone or ambiance in your footage. Let’s dig in a bit more and see how to clean up dialogue with room tone and ambiance in your real-world editing. In certain respects, room tones and ambiance are like fingerprints: every one of them is unique, even if the differences are very subtle. When shooting exteriors, these sounds are referred to as ambiance. It obviously isn’t complete silence because air ducts, outside sounds, and other subtle audio hums and buzzes are often captured. Room tone is the subtle, low-volume sounds present in every room. When a character has finished delivering a line, there is often a bit of space or “dead air.” The noticeable absence of background hum and noise can take a viewer momentarily out of the story. One of the most common ways to do this is by using room tone and ambiance to smooth out your dialogue. Smoothing your dialogue ensures you can generate that layer of believability so crucial to the construction of your story. As you’re rough cutting, you’ll want to make sure that you aren’t distracted from how a moment REALLY feels due to excessively poor-quality audio.
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