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Wedding Cinematography

Lesson 29 of 33

Audio Correction & Exporting

Ray Roman

Wedding Cinematography

Ray Roman

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Lesson Info

29. Audio Correction & Exporting

Lesson Info

Audio Correction & Exporting

I want to talk about correcting audio problems we've talked about color correction color grading we've talked about building rough cuts identifying your footage organizing your footage and building many sequences so probably the last step that we do in the edit is actually going in and fine tuning our audio now what happens if you're watching a film and the soundtrack sounds great and then all of a sudden these beautiful words come on but along with the words you hear and then then the buzzing goes away as soon as the natural audio goes away and then assumes the natural audio comes on you hear the buzzing again and the hissing and in the homes and all this stuff so remember what I told you it's the little things if he just took the time to remove the humming and the buzzing and the hissing and all that now you have what you have something that doesn't disrupt the flow of this experience so let's take a listen tio some sounds let's take a listen to some audio here for their family and f...

riends many who have traveled a great distance we're committing our lives to each other made today be a joyous celebration and everyone said amy on e I want to thank you on behalf of leaving leaving can you hear the hiss here that pretty good you can hear the hissing there now it's is it a big problem just very minor we're gonna fix it why because we can exactly and we want to separate ourselves from the guys that say you know what it don't sound you bet we won't take the extra time because it's going to take some time not a lot of time but now we're gonna have to deal with this audio situation for all of our audio throughout a twenty minute film so we're going to take care of because we want to kind of separate ourselves from the people that are maybe a little bit too lazy to do the same thing so let's identify that in fact I might have even some better audio that we can work with me do a little search here so you're searching for just some audio that's um maybe a little worse it's um uh a little worse but we'll just deal with this we'll deal with a priest feed clothe final cut doesn't crash okay the program that I used to clean the audio is here and I know some guys use adobe sound booth or audition on dh programs like that sounds soap too and I think they just came out with a sound so three haven't haven't tried sounds so three but this sounds hope to is just so fast in removing on one it sounds and it's pretty accurate one of the problems that you run into with a lot of these softwares that are out there in cleaning audio is that it just strips too much away from the natural audio and you start getting that riel tinny sound to your dialogue sounds hope is very very very accurate one of most accurate programs that I found in just removing the unwanted noise without affecting the actual natural audio so I want to demonstrate this but first let's go and get us some audio okay so here let's take a listen let's take a listen to this priest here now I should with the very same symbol would you I'd be clean to please to support leads finger and repeat after me please leave this ring I give leave this ring I guess that was not too too bad let's go to um this receives this one here and we thank you for this precious couple way thank you for bringing them to this point in their lives where they would want to say before their family and friends then you have traveled a great deal you can you can hear some hissing in there so let's just grab some of this file when two of his children stand before their family and their friends and they commit their lives to each other it's a beautiful well thank you hear that right okay so let's export this and well basically export um whatever audio it is that we're using in the film that requires some work and we'll use this as a sample okay perfect two of his children stand before their family and their friends okay so in order to get this stuff into sound so you're gonna need to export as away file uh sound so will only accept the way fall so they're using final cut seven we're going to export using cook time conversion we're gonna name the file so I would name it uh maybe priest raw uh designate uh target area for the vial and then here I'll goto format and I'll select wave on dh actually is a sex yeah so export using quick time conversion uh priest raw select the format which in this case is going to be wave and then save and that's going to save to my desktop well it's probably already saved so nomine open sound soap too which is here and a high of final cut so you can see this rule will get rid of this and this on dh now you can just see sounds hope here so in sounds so I'm gonna go to file open media file and then I'm gonna go to this foul that I've saved to the desktop called priest raw and that's it everything's loaded in here now in order for sound soap to kind of identify the noise that you want to remove you need to give sound soap at least two seconds off this on one annoys a two second sample off the unwanted noise now what's the problem with that sometimes you don't have two seconds between words or between sentences correct so what you can do is you can play the fall when two of his children stand before their family and their friends and they commit their lives to each other okay in sounds so the only thing that you have to do is come up here to transport and select loop and then what you can do is you can select an in and out on lee on the noise that you want to remove and even though it's not two seconds in length it'll loop it until it creates a two second sample for sound soap to analyze so even if you just have literally just a nanosecond of that unwanted noise that you want to remove just set you're in point at the beginning of that split second and an out point at the end of that split second and sound soap will go head in loop that little split second until it builds up to the two six two seconds that it needs teo tantalize the noise that you want to remove so let's try to find find a spot where there's no dialogue very important that you select on area where there's absolutely no dialogue kind of slipping through with two of his children stand before their family and their friends and they commit there was a little spot there where there's a little pause they commit their lives to each other and we'll use it will set in in here and we'll sit out there and now the only thing that we have to do here is click learn noise and you can actually you can actually listen to the area that you've selected now you hear that and there's no there's no natural dialogues looking through that so what once you're satisfied once when you set the in and out if you hear like for instance here if I played this lives to each other lives to each other I have some natural audio slipping through there so I can I can make an adjustment to it my in marker or my out marker until I've really narrowed down to don't unwanted noise I don't want to move on that's pretty good so now I'm just gonna click learn noise and watch this and now when I reset the in and out you can take a listen now it's a beautiful thing when two of his children stand before their family and their friends and they commit their lives to each other is that much better is that really now the great thing is you can even go a step further and you can click on noise on lee so you can listen to uh what sounds hope is removing do you hear any the voice coming through at all okay now if you really if you want to get more aggressive on this and sometimes depending on the situation may be you have to get a little bit more aggressive you cannot they have these dallas here where you can adjust the noise tuner and the noise reduction the amount of unwanted noise that you're actually removing from that file in this particular case I think it sounds pretty good but what you can do is you can click on the noise only and just play the file and you'll notice if I if I move this slider and they come in their hundreds to each other some of that voice is going to start coming through so I want to be very careful not to include any of the dialogue once I've kind of assured that none of that voice is coming through now I can really start to get a drug aggressive on the amount of noise that I'm producing and now we're going to listen to we're gonna listen to the file before sound soap which is here it's a beautiful thing when two of his children stand before their family and their friends and they commit their lives to each other it's a beautiful thing when two of his children stand before their family and their france okay how fast was that they also have um some some settings here where you converse you can actually go in and preserve the person's voice that they have another one that'll help you remove any touch of rumblings and things that normally if you're out in the wind now the thing about wind the wind the frequencies are always changing and the wind noise is always different so it that type of stuff is always going to be challenging no matter what program using but if you have a constant sound like a humming a buzzing a hissing things like that sounds hope is just going to do an extraordinary job of removing that now once you're done you're satisfied with a clip it does sound very good the only thing we're going to do is click apply and it's done and now we just have to export it and we're going to save this clip as priest done and I can either export to a wave on the e f f or an s t I I generally export to a f so select this I'll designate a spot for it which would be on my desktop and I'll click save and knowledge just import that back into final cut and our plate are basically replace the bat the bad fall in final cut and I'll just go along all throughout my film looking for audio that needs addressing and I'll just I'll bring those falls into sounds open as you saw it's ah it's very fast very accurate and then result sounds sounds very clean so ray with a tool this powerful you've never had to take the one or two minutes to record any of the blank room noise when you are on the job it's just not part of your work flow anymore I've not done it I probably should get in the habit of doing that just getting some room tone and things like that but it's not something that we do ok thank you any other questions here there was a question that came in from cayenne I'm not sure if you already answered this but uh did you have a lab on that on that priest that was actually from a direct feed okay yeah that was a direct feed but for sure he had at least a couple of labs on him we'll run ah wireless sennheiser we'll use ah live with the pocket recorder the olympics that we showed you guys and we'll also try to get a direct feed when we can and this particular wedding they were able to supply us with a with a direct feed ok it was funny because confucius jones that said when you were looking for a really bad audio clip he was saying why don't you find the one when the generator came on at the wedding oh my god right on that one that was really bad that we just got to the point where um even if you use sound so just the quality of the audio is just gonna be so bad and I knew that without even listening to it just says you know what we definitely need to do a re record and and the and the beauty of that was the rear of course it's so much better than even if we had the original dialogue without the generator noise so it and they're being a little bit more work we've got a match everything up in post but in the end I was very happy with the results that was beautiful yeah um any final questions what is actually causing the home I know you're really big fan of shooting it right the first time or doing audio the first time I've always wondered where's that hum coming from is it from the pre empt is it just not on the hind of quality feed it could just be from the environment you're in sometimes they have generators going they have air conditioners going so it really just depends could could could be abuzz from the feed that they're giving you so it really just depends and has also has a lot to do with the pre ops uh how clean a signal they're giving you so let's try to jump into some exporting exporting the clips and things like that so let's see what our sequences were looking like okay so let's go back into our film e I think something happened because everything on my sequences now are just like that the blocks are completely office I can read us another suggestion from someone online but I'm we're in that everything changed like everything was normal before but throw you off so tabs had said final cut pro system settings playback control change the gamma correction from accurate to approximate and that worked for task control gamma correction to approximate this works looks good to me thank you task saved the day has is the man nice okay good all right so if you notice here if you notice in the edit we've got some we got some crop bars placed here these crop ours the senate scope look we generally just used for uh stuff that's on the web just give it a little bit more of a cinematic look and the way that we achieve these crop bars we actually go in and we apply the slugs let me get a fresh clip here shaken kind of take a look at it ok so basically what we're doing here is we're coming in here in final cut seven and we're just selecting slug and we're placing a couple slugs on top of the clip you guys use something similar for premier or the other editors yeah I haven't tried it in premiere but in after effects I just use solid layers and stuff like that mask mask america so I'm gonna drop a slug here and then I'm also going teo I'm going to duplicate that so I'm basically gonna have to two slugs on top of whatever film trying to export with the with the crop ours now you'll notice here now I can't see the clip anymore so basically what's gonna happen is I'm gonna have to crop these slugs at a place on top of the clip so I'm gonna go into this one I'm gonna go into the motion tab and I'm going to select crop and I'm gonna take the top and I'm gonna run this down to eighty eight number eighty eight and then I'm gonna go into the bottom one and again inside the motion tab I'm gonna twirl down the crop and I'm going to use this slider to crop the bottom two eighty eight as well so both the top on the bottom are both gonna be cropped two eighty eight and you'll notice now now I've got the crop bars now another option here is to if I grabbed another clip I could just double clicked and I can come into my effects tab and here where it's um let's see they have a mat function here and I can actually apply a widescreen look to the footage and what I'll do is I'll come into the filter and I'll select what I want now this panavision is actually two thirty five so you'll you'll notice if I play both clips back to back the crop is basically this is essentially the same now the big difference here is sometimes you have to make adjustments to the clip and if you have to maybe zoom into the clip just making any type of adjustments to the composition the problem with adding the wide screen filter is this if I come in here and I tried teo maybe zoom into the clip or scale it up look what happens my crop bars disappear okay so this is affecting the entire image even with the widescreen bars by having the slugs cropped on top of the image I can come into the image and no matter what I do to the image itself I'm maintaining the crop bars so I can come in here and I can reposition this clip wherever I want it and I still have my crop bars so that's kind of the main difference between using the built in wide screen filter and using these slugs on top and just cropping that crop in the top and bottom right so once you're ready to export this footage I like sport both of these and actually I just I'll get rid of the filter here this white screen filter and I'll just extend the slugs to fit both and now this was our film I would just go to file export a quicktime movie I'll name it um uh cinemascope ten eighty I'll designate uh destination all this looks good current settings on dh make movie self contained and I'll click save just wait a second sory well that's working I've got a a question and forgive me if this is a dumb photographer question but when when I'm working I have to color correct my probe the monitor profile after make sure that whatever I'm seeing output will be similar to the prince I make is there anything someone too that for video or because everything is screen to screen to screen it's just um is there anything you do to your hardware to make sure that you're getting accurate colors as well you can definitely calibrate your monitors see um just just to ensure that you're getting something accurate I I neglect doing that I should get in the habit of calibrating all my monitors but we have enough I've got a couple calibrated monitors but not all of them and not the not the macbook pros the macro pros actually seemed to be um somewhat accurate when it comes to that so I think that's why I've got a I've gotten kind of lazy in that regard so we've exported the quicktime movie um on a mac I like to use compressor some basically let me just fire a compressor again come on open up compressor on my mac and I'm gonna import that file that I've just exported which is essentially our film um it's right here cinemascope ten eighty now the problem with this fall right now if you want to get it online and have that cinemascope look to it without the black crop bars you're going to need to do something here in compressor to basically get rid of the black uh crop ours because if you play the ten eighty follow you're going to notice you've still got the black the black bars on there so in order to get rid of that I have a pre set here and we're gonna go into the preset and I'm gonna show you exactly what I have going on here okay so we're going to the encoder the file format is going to be a quicktime movie if you go into the video settings I have the frame rate set for current mikey friends is set to automatic it's an h two six four file and I have my data rate restricted to five thousand kill obits and it's optimized for streaming now this is the most important part you're gonna have to go into the geometry shot uh geometry tab and crop to panavision two three five which is here and then I'm also going to go into the dimensions control here and I'm going to designate that my frame size b twelve eighty by five forty four and this is going to be a custom preset that I'm doing myself I'm entering these dimensions myself and your padding is just gonna be custom you're not gonna have any additional padding here from left to right top to bottom and that's pretty much it so the presets done and I'm going to take that pre set I'm gonna drop it over the clip and this is actually giving you a preview here in your preview window this is your clip with the crop bars and this is what your outputs gonna be and you'll notice there's no more crop bars I will actually go ahead and just export this okay well export this and this will be an excellent fall for video youtube facebook the quality's gonna be very high and it's gonna look pretty good for the web so we'll call this in a scope seven twenty because this is going to be a seven twenty p file and that's it we will export this file which should just take a couple seconds more more yeah god so ray it looks like when you're coming out of final cut you're taking the full high rez file so a ten gig file a couple questions what do you do in that file is that your main backup file and number two why don't you just compress it right out of final cut when that save you you could little bit time you could but this here um for this for this panavision look toe work I haven't found a way to do that within final cut where you can export with the the cinemascope look here you just basically getting you khun we exported out of final cut as a ten a teepee fall are actual full rest file the problem is that it maintain the black crop bars which were trying to get rid of for the web for web delivery so if we go here the fall has finished and now we look at the file and we play back that I should let me get rid of all these other windows call hide final cut and compressor and now if we just play the fall that we've exported you're going to notice that I got rid of the black crop ours and now we have a cool looking well this one I think we played with thea we scaled it up and scaled it down but but this is what the file looks like here without the crossbars and that's how you get the cinemascope look easy enough cool all right any questions here online we sure do so from a pro photographer how long does it take you on average to complete your editing and then we also had another question asking and what do you promise to your customers regarding that regarding time so many people have wanted to know how long the editing process takes from beginning to end yeah it's ah it's very time consuming it's really dependent on the backlog that you have how many weddings you're doing per year uh we're thank god we're down to about four five months delivery right now which is it's pretty standard in the industry something some people have a quicker turnaround so people have a longer turn around so it really just depends on that particular studio and what type of backlog they have cool so can I just press a little bit more yeah so are we talking a week do you tell your clients a month for turnaround time yes know the contract says six to seven months six to seven months I guess you just said that how long does it take normally to turn around a photo album I think most wedding photographers say three months maybe are their albums that air delivered in five or six months probably I know there's people that turned them around in a month so it just depends there's probably videographers there's probably videographers that turning around in a month or maybe I know one video pretty turns around seven days is his his final product highlights within twenty four forty eight hours and final product within seven days and he's doing twenty minutes movies as well I'm not sure what he's doing he's a madman he's a madman I'm gonna give him a plug here ruben centering he's my idol but he does and he does tons of weddings every year and his turnaround time is just that is editing in himself I'm not sure rubin tell us your secret no but he does he does have a very fast turnaround time I don't know how he does it I mean I've heard he doesn't sleep so I'm not I'm not sure how he does it but he's uh he's very fast just really dependent on your studio you know just like photographic studios sometimes it delivering a month sometimes they deliver in six or seven months and these air photos that are essentially done out of the camera and they just need to know touch them up and things like that whereas were kind of producing a film so well so just keep on this conversation a little longer so when you actually get to the assignment do you and your sitting down on you do it from beginning to end you know I'm saying when you get to that wedding when it's up it's time to run roll front back with that wedding and let's take uh see if you guys been paying attention for the last couple days who would you guess does that mean that uh jessica right so jessica is the main editor and she's literally a freak of nature as she can she can complete on entire main feature from beginning to end fully color grated just full on storytelling time shifting the whole bit corrected audio delivery and everything in about three days great that's a that's a that's a suite number we're looking for yeah that's like like three eight hour days she's not available she's all mine but that is what I was trying to get so comfortable e she doesn't it about four or five days but if she has two I would get she could probably even do it in two days she's just twelve hours of that focused yeah twelve or fifteen hours in a day or for those three days jessica's not human she's asleep he's not human yeah that's cool but you guys are you guys are a team during that time right she's coming to you with questions you're looking at the final editors that's that's a great teamwork that you guys could be together for that yeah and she's always asking for feedback and things like that like I'll check the edit I say well maybe you could do this maybe you do that and uh you know sometimes she makes a change sometimes not

Class Description

Ready to find out what separates wedding videographers from sought-after wedding cinematographers? Join acclaimed event cinematographer Ray Roman for a crash course in wedding cinematography.

As he shares what he’s learned about filmmaking working with NBA All-Stars, high powered CEOs, and everyone in between, Ray will guide you through every stage of filming a wedding, from first looks to post-production. You’ll learn about the key gear needed for documenting weddings. Ray will cover basic film structure and time-shifting methods. You’ll also explore both basic and advanced composition techniques that you can easily integrate into your workflow. Ray will also share his proven sales and marketing techniques for connecting with clients and turning consultations into sales.

By the end of this course, you’ll have the skills you need to market your services, capture weddings on film, and give your clients a jaw-dropping record of their once-in-a-lifetime event.

Class Materials

bonus material with purchase

Ceremony Camera Set-Up and Coverage.pdf

Ala Carte Sample.pdf

Proposal Sample.pdf

bonus material with enrollment

Ray Roman - Gear List.pdf

Ratings and Reviews

Student Work

Related Classes



The content provided here is great for videographers starting out in the wedding industry and also for pros/semi-pros fine tuning their video skills. In fact this is the only course in wedding videography that I can find on Creative Live. There are a couple other for corporate or film making video course, not dealing with wedding video. Also an HDDSLR course is available. That said Creative Live needs to put out a couple more updated wedding video courses, as this one is a several years old now and many pros are now using Dual-Pixel autofocus or fast sensor auto-focusing in Canon, Sony, Panasonic, and now Nikon also in Z cameras with great stabilization in many cameras (which should be discussed affecting the shots and video coverage). Although the rest of the course is great on how to plan out video coverage at your wedding, with the advent of great autofocusing systems today in DSLRs and mirrorless that could make some difference to how video is shot. I still give this course a thumbs up, as it is the best course (and only course) currently on CreativeLive for wedding video/cinematography, however I would encourage CL to create a new course being developed and recorded as much as happened in the last 5 years in video DSLRs and mirrorless, which makes a difference to shooting video. How wedding video coverage is done and planning the shots and angles of view, and equipment is still useful information to buy this course. The presenter Ray Roman is also an excellent teacher. So get this course now, and another one once an update is made. CL has lots of photo courses on wedding, not many for wedding video.

a Creativelive Student

A couple of years ago, I made a bold and somewhat wreckless choice to take out a home equity loan in order to help finance my son's dream to start a wedding cinematography business. Together, we embarked on a journey to learn everything we could about the business. The most important choice we made was to purchase the Ray Roman Wedding Cinematography course. This class saved us so much money as it helped us understand our camera, audio and essential and non-essential gear. We were inspired by the artistry in Ray's work and have implemented many of his techniques in order to Improve the quality and production value of our films. In under three years, we have filmed over 50 weddings and our company is well established in our area. Buying Ray's class was easily the best investment I made for my son's business, One Night Only Films. Thank you Creativelive and Ray Roman for helping us start a successful and profitable business.

a Creativelive Student

WOW!!! What an amazing experience. I had the opportunity to be there in studio with the creative live team and Ray and all I have to say is it was amazing! The creative live team was FIRST class and this course was jammed packed with information!!! Forgive me if I asked to many questions but I wanted just to pull all the info I could of out of Ray. From being there in person and owning the course itself I have to say that this is a MUST have for all cinematographers of any level! Buy it and watch it again and again! Thank you creative live for this amazing opportunity! -Aaron