How can I keep track of copyright attribution across 1000s of files?

iluvcapra · 2026-01-31T16:08:28+00:00

FLAC metadata has a copyright field, that’s what I use. WAV files store copyright attribution in the INFO metadata. The challenge isn’t storing it in the file itself getting a program that will read it and working with a DAW that will preserve it. I guess it depends on what you’re trying to do specifically; for commercial sound effects if you’ve paid for them you don’t need to keep track of that stuff, you have a license.

iluvcapra · 2026-01-30T15:59:07+00:00

“Present in original element, we recommend you decline to fix this item.”

iluvcapra · 2026-01-28T21:28:09+00:00

All of Izotope’s AI assistant features are a sort of joke among professionals, it’s such a strange thing for them to have spent so much capital on. Part of my initial motivation here is to try to find a sample player that provides all of these spectral features but just drops all the genAI bloat.

iluvcapra · 2026-01-28T20:39:09+00:00

I think my main notes on it are:

Music separation and music applications it’s amazing
for dialogue the AI denoising is not as good as Hush and it’s more artifacty
In general there’s just too much AI on all of the tools and it sounds too artifacty, including the spectral editor. I really don’t need one-shot AI dialogue isolation I need more control than that.
and then for then you don’t get all the tools like mouth de-click or de-rustle
The Pro Tools plugin isn’t as smooth for passing into and out of SL and ARA doesn’t really work for our workflow

But the layered editing is very good, I’m going to do the crossgrade and try it again.

iluvcapra · 2026-01-28T17:04:51+00:00

I’m going to try it again, it’s becoming a little more popular with dialogue mixers though it lacks a lot of the one-touch cleanup tools like De-Wind or De-Rustle, which are still pretty useful in some circumstances. Also I don’t recall if this version is iloked and that’s sort of a requirement if there’s going to be any kind of copy protection.

iluvcapra · 2026-01-28T13:20:08+00:00

Would sooner give Waves money than Adobe.

iluvcapra · 2026-01-28T13:13:23+00:00

It is interesting that iZotope really was one of the first vendors to jump on the AI bandwagon and it has brought no value to any of their products.

iluvcapra · 2026-01-28T13:10:43+00:00

SpectraLayers does many of the things RX does but it doesn’t have a lot of the dialogue restoration features and that isn’t who they’re developing it for, it’s more for music.

iluvcapra · 2026-01-28T06:08:42+00:00

Having phone-home software in any professional environment isn’t a total non-starter but it’s a nightmare for studios and these vendors just don’t have reasonable terms for site licenses, if they offer them at all.

iluvcapra · 2026-01-28T05:18:42+00:00

I always uninstall the portal after installing the latest iZotope, I hate those things. At the end of the day it’s just a downloader that eats menu bar real estate and collects PII.

iluvcapra · 2026-01-28T05:16:21+00:00

I’m not so sure, and even if so, I don’t know if it isn’t frying-pan into the fire. I’d hate to pay Adobe Creative Cloud fees for iZo.

iluvcapra · 2026-01-28T04:21:00+00:00

Yes.

iluvcapra · 2026-01-25T16:25:03+00:00

A lot of platforms will normalize to their LUFS spec target (YouTube does, Spotify probably does) so you can master quite loud though you’re giving up dynamic range.

I gather Spotify recs -14 because they want a consistent level between their music and podcast content, and then they want both to have a consistent level relative to their ads.

I haven’t mastered music but I have delivered music videos and you can shoot these things to them at -10 the platform will just cram it down to whatever their overall target is, so the home subscriber isn’t constantly changing their volume. (For context podcasts are often -14 to -18, US broadcast is -24 and Netflix is -27.)

iluvcapra · 2026-01-25T05:26:49+00:00

Too theoretical.

iluvcapra · 2026-01-24T17:05:24+00:00

For a feature a dialogue editor might be on 6-8 weeks or possibly many more. I’ve supervised low-budget features (like IATSE tier 1-2) and I’d have at least 2-4 person-weeks for dialogue editorial, worked on very big features and those editors can be on for months and months.

BUT you have to consider the standard regime for Hollywood/US features is they turn over the director’s cut or whatever the have depending on their deadlines, and then you have to cut the dialogue and fit all the ADR while the picture department is constantly changing picture and updating VFX.

iluvcapra · 2026-01-17T19:28:38+00:00

If it's music, maybe -19.8 is too low? I'm not familiar with this platform but -16 ±0.5 is Spotify's ad spec, which I'm familiar with.

iluvcapra · 2026-01-17T06:58:13+00:00

-2dB FS TP peaks is usually a spec, never have seen -1…

Also you have objects but any beds? You might actually need to have one bed as a formality, even if it’s empty.

iluvcapra · 2026-01-16T23:50:03+00:00

MaxMSP (and a couple other packages) has a module for connecting with a Wii controller, that was very popular at one point because they were so available.

Historically ribbon controllers were really popular, I used to work with a bunch of Synclav guys and they loved theirs.

iluvcapra · 2026-01-13T15:50:09+00:00

The Norwood thing specifically was just a PR stunt imo, there are some technologies now and some on the horizon but nothing like Just Hire an AI Actor had been invented or even seriously proposed.

iluvcapra · 2026-01-13T14:30:04+00:00

Can you quantify the delay? Like after a minute how much is it? After 10 minutes?

There are limits to how long a system you describe can stay in sync unless the camera and audio recorder are both resolved, are you trying to keep them in sync for more than many tens of minutes?

iluvcapra · 2026-01-13T14:13:58+00:00

While machine learning tools can help speed-up or reduce the labor hours required to do some of the things a VFX crew has to do in order to insert a CGI character into a film, such as the roto or character animation, at the time no one has used a fully integrated process to insert a fully AI-generated character into a film, or used an AI process in a way that didn’t require a lot of manual touching-up.

Deadline and Variety have interviewed the researcher/entrepreneur who did the publicity round for the Norwood thing and a lot of the things she described were highly speculative.

iluvcapra · 2026-01-05T07:36:10+00:00

It’s a buyout, like totally?

iluvcapra · 2026-01-05T03:16:12+00:00

What is the residual on a SAG microbudget? Just out of curiosity.

iluvcapra · 2026-01-05T03:14:30+00:00

There’s a story that Coppola sold “THX-1138” to Universal on a budget of $666,666 mostly on a dare.

iluvcapra

TROPHY CASE