Europe's Leading Dialogue Editors Say iZotope's RX 4 Audio Repair Platform Re-writes Rulebook on TV and Film Productions 02 March 2015
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RX 4's Time-Saving Features, Ease of Use and Processing Potential Empowers Editors, Enables Creative Focus
iZotope, a leading audio technology company, is approaching NAB 2015 (booth# SL4330) with recognition from the post production community thanks to strong support for the latest version of its professional audio repair and enhancement toolkit RX 4 Advanced.
Since its launch last September, RX 4 Advanced has generated significant interest across Europe. Targeting the specific needs of the international film and television post market, RX 4 is rapidly gaining an avid following, winning plaudits from many leading dialogue and audio editors.
Max Hoskins, Dialogue Editor, London
Max Hoskins works in TV and film audio post with credits including the BBC's The C Word, St Trinian's and The Beach amongst others. Hoskins believes that iZotope's RX 4 platform sets a new standard in audio repair technology for both film and broadcast TV workflows.
I've edited and supervised many major film and TV productions for over 30 years and really have never encountered anything like the revolution that RX has brought along, he commented. Its processing power combined with its intuitive interface makes the post process so much more efficient and enables the editor to focus on creative aspects of the editing process. Editors are brilliant at editing but they are not software engineers. As an editor, I really appreciate the simplicity of RX. You don't need to study an instruction manual, you just start using it. It is that intuitive.
Hoskins sees a number of fresh features and facilities in RX 4, which will enable audio editors, especially in film and TV environments, to take on even more complex audio repair scenarios like ambience matching, EQ matching, and levelling their audio. In ADR (automatic dialogue replacement), you always need some kind of ambience. Whoever developed RX 4's Ambience Match feature deserves a gold medal, Max states.
Dave Ashton, Supervising Dialogue Editor, Galaxy Studios, Belgium
At Galaxy Studios in Mol, Belgium, Dave Ashton has been using iZotope's RX for five years and has been an early adopter of each major release. As a dialogue editor it has become an essential part of his workflow and with each new release its capabilities continue to grow.
Ashton is a strong believer in using as much production sound as possible on any project and treating ADR as a last resort. ADR can be an expensive and time-consuming process that requires a number of factors for it to work well.
With RX 4 Advanced, iZotope has made this process even easier with the new RX4 Connect option, he says. Previously I've had to export the section of audio that requires repair, import into RX, make my changes, commit my changes and re-import back into Pro Tools.
The other issue was monitoring iZotope's output. Once this was all set up it's quite a smooth process but with RX Connect it's even easier. Now I can send the audio quickly back and forth to RX whilst being able to monitor the results through a simple insert. For many people this will undoubtedly be a game changer, he concludes.
Stefan Henrix, Audio Editor, London
Stefan Henrix has worked at the cutting edge of film and TV sound post production for over 35 years. His credits include Hollywood blockbusters such as Batman Begins, Sweeny Todd and Alice in Wonderland, while his TV work includes Game of Thrones, Generation Kill and Black Sails.
A freelance audio editor based at Boom Post in London's Soho, Henrix has worked with RX for many years and regards it as his go to software for a wide range of applications from dialogue editing to audio effects. Henrix was amongst the first wave of European RX users to upgrade to RX 4 Advanced last September and he is impressed with the new and unique facilities that it offers.
EQ Match is a feature that can save massively on time and cost, he says. Occasionally you will have one or two lines of ADR that need to be re-inserted into the middle of a scene within the original soundtrack. This can be very difficult and time consuming. RX is a fantastic tool, not just for the dialogue editor but also for the re-recording mixer.
And the focus on ease of use is music to my ears. Optimising the use of my time is great and that is what RX is all about. iZotope's RX audio repair system is a fantastic piece of software that everybody I know raves about. Why? Because it makes our lives easier, it saves time and it saves cost, he concludes.
Jakob Myrman, Sound Designer and Audio Engineer, Lillasyster, Stockholm
Established in 2005, Lillasyster is a production company that supplies content for television, web, radio and cinema distribution across Sweden. They have been using RX for around a year, mainly for general noise reduction.
When Jakob Myrman heard about the launch last September, the decision to upgrade to RX 4 Advanced was simple. We've been using RX 4 for a couple of months now and it is starting to be addictive. With the new RX Connect feature our workflow is so fast it feels as if any part of the content that hasn't gone through RX isn't worked with properly, he explains.
It is great having the small floating window onscreen all the time. When something is noisy or distorted or if I need fill, then all I need to do is to mark the region and send it to the standalone app. This way, I have more options and direct access to the spectral editor without having to compromise my workflow in Pro Tools by having too many open plug-in windows at one time. When it's completed processing, I send it back to Pro Tools where it renders on demand.
I recently edited out th
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Europe's Leading Dialogue Editors Say iZotope's RX 4 Audio Repair Platform Re-writes Rulebook on TV and Film Productions 02 March 2015
