I’ve got a section in my film where the pro audio wasn’t recording yet…so the director used camera audio for that scene and asked me to match as best as poss…
NR has worked great; Match Reverb is a long way off…the pro audio capture sounds lovely but the SL11 Match Reverb sounds very digital and appears to fill the spectrum with noise (at least that’s what it looks like)
Aggressive reverb reduction to then apply a faux or matched reverb I can foresee not being a pretty outcome…I’m thinking about trying my Lexicon PCM80
anyone have a workflow to propose?
OK, I’ve been able to achieve some really nice results with Match Reverb…acceptable, for sure and miles beyond old school film audio techniques.
What took me a while to figure out was to cut the audio where I wanted the reverb tail to be over empty ambiance. It did take some fading of the tail to arrive at a reasonable facsimile.
Further, I was taking the Reverb Register from the full mix of the source rvb section and applying that capture to the unmixed speech I wanted to apply that source rvb to. I found a much better result using the speech layer from unmix noisy speech of the source section and then applying that rvb capture to the unmixed speech of the audio I needed to apply the source rvb to.
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Further, the Kilohearts rvb gave me a nice result, too 
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