As I sit here working with only one engineer on a deck outfitted with the
latest of digital tools, I cannot help by think about how far we have come in
mixing films - and how many things remain the same.When I first started in this
industry, we had http://www.beatsbydrdreukoutlet.com/
film playback to concern ourselves with locking sync and 2" tape decks to
conform the pair. Today, we work with less people and much more digital
assistance - but the basics of good sound re-recording applies.Detailed below
are some of my tips to maximize your time in your mix and make sure that you are
getting all that you can out of the session.WORK IN TEN MINUTE REELS - this is
the industry standard and conforms to approx. 1000 ft of 35mm film. We would
break the film up to correspond to this length (due to the size of raw stock
reels) and it's a good mixing practice today as well. Working in ten minute
mixing reels means we can lock sound effects and audio needs on one section of
the film while still cutting the other. While it's nice to mix in reel order,
this way you don't have to if you are waiting for more detailed sound editing
work or a reel is being re-edited due to picture concerns..
DIALOG/MUSIC/FX/AIR - Pay attention to specific audio areas one at a time.
Listen to the transitions and how the work sits together - but isolate your
attention to specific elements in the mix. Start with dialog clarity and then
music beats by dr dre
solo hd and how it affects the final mix. DOES THE MUSIC GET IN THE WAY OF
DIALOG CLARITY. The biggest concern you will have is making sure you can hear
what the performers are saying. Add Sound FX where needed and salt with
Athmosphere or Air tracks to fill in the gaps as needed. Low level traffic, the
sounds of 'room tone' recorded on set - all are helpful when completing your
final Mix as they can fill dead air or edit points between audio tracks.KNOW
YOUR SYSTEM - In the USA, Pro-Tools is the software of choice for audio editing
and mixing. In Europe, Logic is used more often than not. Regardless of your
system, you beatsbre1
sjd be aware how your editors and mixer want their audio tracks delivered.
Most will want an OMF delivery of your audio tracks from your picture editing
system. Watch out as the new Final Cut X does not offer this function as of this
writing. Sound editors will work with your original tracks augmenting them with
additional dialogue recording (ADR) to replace dialogue that is marred by
technical problems and add Foley elements (post-recorded synchronous effects) as
well.WATCH YOUR REEL AND THEN MIX IT - Don't start mixing until you've watched
the reel right through to the end. PUT ALL THE FADERS UP AND MAKE NOTES ON AREAS
THAT CONFLICT OR DON'T WORK. Don't worry about sliding things around to fit as
this is common. It is true.
The Mix truly is the last edit for your film. When you watch a reel in its
entirety, you get a better feel on the scenes at hand and how they flow into
each other. By having an overview of the next ten minutes of the picture, you
aren't holding too much in your head - and you have enough overview to
understand context for the work.BOUNCES, BACKUP AND CLOUDS - Finish a reel and
bounce it out (mix down) for your lay back with picture. BACKUP THE SESSION on
another drive and put a copy of the BOUNCE to your Cloud Service (I use Dropbox)
for easy access by everyone as required. The engineer will be keeping copies of
the session as well as duplicates that are dated as well. It never hurts to have
too many copies of your audio masters and your work on them at a specific date
and time.Once the picture is Mixed, screen it for an audience as soon as
possible. As big as you can in the best sounding environment you can get.
Don't be surprised if you have to go back in to adjust things after this
event. Hearing your picture with clear ears and with a group (without stopping
and starting each reel) will definitely impact your final sonic decisions. This
is an imperative step as it allows you to finally see your film as your audience
sees it - and you'll be surprised at the number of concerns you had and how
forgiving a live presentation can be. You will also be exposed to new areas to
revisit and you have to decide if your budget, schedule and film can support
these final audio edits.Mixing is the final icing on the cake for most cheap beats by dre
and greatly enjoyable as it means you are almost finished. It's the time to put
everything together and see your film in its best light - but it also takes time
- and long hours at the mixing console. If you can do twenty minutes in eight
hours, you're doing fine. Don't rush through your audio edit and mix as it is
one of the few areas where audiences are unforgiving. They may forgive a bad
composition or weak cinematography - but they will hate you if your film sounds
bad. Color Correction and additional visual refinements will make your film look
great - but without a solid Mix behind you, your film will suffer. Pay attention
to your Mix and benefit from the best of today's digital tool set by being
clear, concise and dynamic. Your audience will appreciate your diligence.
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