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  • Hey all, just changed over the backend after 15 years I figured time to give it a bit of an update, its probably gonna be a bit weird for most of you and i am sure there is a few bugs to work out but it should kinda work the same as before... hopefully :)

Has Anyone used the iZotope Loudness Plug-in?

Elsie N

Elsie N

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Red Shark readers can get a $50 discount on the RX Loudness control plug-in with a free trial for 10 days. ($50 off Offer runs out May 31st.)

Has anyone been using this? Are you happy with the results?
 
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I went over this real quickly with Izotope people when they were beta testing this. My gut feel is this is perfect for daily's, temp mixes, and video treatment/previs mixes. I haven't seen any of the final mixing people use it yet(rerecording, etc). My only whine is this wasn't part of ozone 6 which btw had very little functionality improvement (so aside from rx4 i'm kind of in a funk with izotope product upgrade strategy).

[btw ... the naming of the RX Loudness plugin is a bit confusing, has nothing really to do with RX4 and isn't really a plugin since it runs as a export rendering utility for the QA step]
 
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Hi Elsie!

I have used it many times. Works a treat and many have taken the upgrade path to get just that function. Buy with confidence.

Thank you very much

Fury
 
RX4 advanced is definitely worth it when you add in dereverb and denoise in addition to the loudness module.

I used it on festival submissions with no loudness spec to create a stringout and it does a fantastic job of taking stereo mixdowns and bringing them all to a happy place without crushing the dynamics on a mix by normalizing.

If you do any sort of audio post and want a simple bullet proof solution, don't think twice and just buy it. You won't regret the purchase and it is guaranteed to save your bacon at least once.
 
Thanks to all for the input. Since it works with Premiere Pro CC I think I'll give this a shot.
 
Don't forget the roundtrip shortcuts with iZotpoe 4 Advanced and NLE's - Nifty.

Thank you very much

Fury
 
Nick Fury said:
Don't forget the roundtrip shortcuts with iZotpoe 4 Advanced and NLE's - Nifty.

Thank you very much

Fury
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Hmmm, interesting. But I think I'll just focus on the loudness plug in for now.

If I get into a situation where I need to repair sound beyond what Audition can handle, then I'll spring for the whole kit.
 
Will do Patrick. As for trying it out, I don't have anything that really needs it right now but I do have an old short film that could have used it.

I'm thinking about revisiting that edit (for my own knowledge base) when CC 2015 is released. I had a lot of jump cut movement required to edit dialog gaps and ADOBE claims to be able to smooth those out so they appear seamless. Being able to standardize loudness across the whole project with little effort appeals to me.
 
Elsie N said:
Will do Patrick. As for trying it out, I don't have anything that really needs it right now but I do have an old short film that could have used it.

I'm thinking about revisiting that edit (for my own knowledge base) when CC 2015 is released. I had a lot of jump cut movement required to edit dialog gaps and ADOBE claims to be able to smooth those out so they appear seamless. Being able to standardize loudness across the whole project with little effort appeals to me.
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Your joy shall be mine...Try it out, vary parameters to taste, but just amazingly easy and effective, without unobjectionable side effects, IMHO. One thing to remember, as you transition to isotope 4 Advanced, which you will (;-)), and the desser Plugin add on (that's another piece though), is that all the processing you do is destructive, except Gain. Just the way it is set up. Still an amazing and incredibly useful tool for almost all Indie work, for sure and upward, IMHO. The next thing you are going to likely run into is handling poly files.. Wave Agent is a work around and free, but a DAW, like Pro Tools, which has its own learning curve, is preferable and works seamlessly with isotope 4 Advanced.

Thank you very much

Fury
 
Elsie N said:
Will do Patrick. As for trying it out, I don't have anything that really needs it right now but I do have an old short film that could have used it.

I'm thinking about revisiting that edit (for my own knowledge base) when CC 2015 is released. I had a lot of jump cut movement required to edit dialog gaps and ADOBE claims to be able to smooth those out so they appear seamless. Being able to standardize loudness across the whole project with little effort appeals to me.
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Unfortunately the dialog leveling option is only in rx4, and is NOT in the rx loudness renderer/plugin. I btw only use protools, due to what Nick is commenting on.
 
PatrickFaith said:
Unfortunately the dialog leveling option is only in rx4, and is NOT in the rx loudness renderer/plugin. I btw only use protools, due to what Nick is commenting on.
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Didn't know that... better do more research before pulling the trigger. Thanks!
 
Elsie N said:
I'm thinking about revisiting that edit (for my own knowledge base) when CC 2015 is released. I had a lot of jump cut movement required to edit dialog gaps and ADOBE claims to be able to smooth those out so they appear seamless. Being able to standardize loudness across the whole project with little effort appeals to me.
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I believe you're far better off actually hiring a good dialogue editor and post sound mixer, particularly people who have a lot of experience smoothing out problematic dialogue. Automatic controls are no replacement for humans and good judgement.

Bear in mind that sudden changes in loudness can sometimes happen due to changes in mic positions, different microphones, different locations, different background noise levels, room EQ, different voices, even emotion on the part of the actor. A plug-in can't compensate for all of these factors. I would bet hiring a good dialogue specialist for a day or two will yield far better results than a $500 plug-in.
 
Marc Wielage said:
I believe you're far better off actually hiring a good dialogue editor and post sound mixer, particularly people who have a lot of experience smoothing out problematic dialogue. Automatic controls are no replacement for humans and good judgement.

Bear in mind that sudden changes in loudness can sometimes happen due to changes in mic positions, different microphones, different locations, different background noise levels, room EQ, different voices, even emotion on the part of the actor. A plug-in can't compensate for all of these factors. I would bet hiring a good dialogue specialist for a day or two will yield far better results than a $500 plug-in.
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Can't argue with any of your points, except from the standpoint of cost (plug ins are essentially slave labor after you buy them '-) and the standpoint of lack of availability of local professionals.

But I'm guessing you weren't speaking to me directly but to everyone in general. And of course if the budget can stand it, hiring those who make their living in their specialty is best.
 
Elsie N said:
Can't argue with any of your points, except from the standpoint of cost (plug ins are essentially slave labor after you buy them '-) and the standpoint of lack of availability of local professionals.

But I'm guessing you weren't speaking to me directly but to everyone in general. And of course if the budget can stand it, hiring those who make their living in their specialty is best.
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I went through this myself from a pure cost viewpoint and it was way cheaper me sending the work out, I thought it would be way cheaper me doing it and i was wrong. ( i.e. RX4 advanced is 1200 + 349 for loudness, and you really need protools or nuendo to run it, another 2k plus, and the other izotope plugins are about a 50% cost for updates each year, and feature film reverb plugins are in the $2k range ... and that's not counting ozone advanced and the hardware to run 256 plus channels).

BUT I feel I am getting a more compelling story when I have these tools for daily's, temp tracks and treatment video's (then sending the protools "raw" sessions to external dialog editors, music editors and dub-stages, etc). Also by using these tools I "tend" to not say TOTALLY ignorant things "as much", such as: arguing against dual system recording, telling the camera operator to wear the headphones, confusing dialog editing with the dub-stage, confusing music mixing editing with re-recording stem editing.

It also took me about 2 years to train my ear to properly sound edit for temp mixes, but i think that's time well worth it for me at least. I think a workable system for doing temp mixes is around 10k, for my production it's closer to 100k which includes creating the music stem temp mixes. I have totally given up on doing dubstage type work and anything aside from stereo, as it being way to costly for me to do it properly. I also just kind of assume most of my temp mixes are deleted when i send it out, but at least i have given them all the tracks needed in a well organized manner(full time guys can basically do a entire indie feature in a week or two if they get all the tracks well organized with valid track names and no missing audio).
 
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PatrickFaith said:
I went through this myself from a pure cost viewpoint and it was way cheaper me sending the work out, I thought it would be way cheaper me doing it and i was wrong. ( i.e. RX4 advanced is 1200 + 349 for loudness, and you really need protools or nuendo to run it, another 2k plus, and the other izotope plugins are about a 50% cost for updates each year, and feature film reverb plugins are in the $2k range ... and that's not counting ozone advanced and the hardware to run 256 plus channels).
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And don't forget the room, acoustic work, and the loudspeakers, which could literally cost hundreds of thousands of dollars. Even a modest 5.1 room could be $20K, easily.

And don't underestimate the value of the sound mixer who actually does the work. Skilled people are worth their weight in gold if they enhance the final film in ways the filmmakers couldn't.
 
Marc Wielage said:
And don't forget the room, acoustic work, and the loudspeakers, which could literally cost hundreds of thousands of dollars. Even a modest 5.1 room could be $20K, easily.

And don't underestimate the value of the sound mixer who actually does the work. Skilled people are worth their weight in gold if they enhance the final film in ways the filmmakers couldn't.
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Yep, For mission critical work, either HUGE learning curve or call in the Adults. Nevertheless, as Patrick reviews and many of the persons in the Group are wont to do, the power of the tools available, to do what is frequently web delivery, with a target audience that is accustomed to fair to poor audion on their Utube choices, there can be value. This is irrespective of the value of increasing your ken... Helps if you have no time committments as well.

Thank you very much

Fury
 
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