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Audio Post Production Workflow Part 2

Audio Post Production Workflow Part 2. Mixing. Dubbing (aka) Sweetening The Process of mixing and re-recording of individual tracks created by the editorial staff. This is where all the the elements that go into a finished soundtrack finally get mixed together.

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Audio Post Production Workflow Part 2

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  1. Audio Post Production Workflow Part 2

  2. Mixing • Dubbing (aka) Sweetening • The Process of mixing and re-recording of individual tracks created by the editorial staff. • This is where all the the elements that go into a finished soundtrack finally get mixed together. • Decisions are made about which sounds will be used and their levels

  3. Mixing • Stems (Pre-Dubs) • Pre-mixing and re-recording of multiple tracks into smaller D, M and E “Stems” • When systems were not able to handle large #’s of tracks tracks (Mag Stripe film could only accommodate up to 6 tracks) it was necessary to limit the number of final elements that could be brought to the mix stage. • To handle the many tracks needed to be mixed groups of sounds were pre-mixed together and delivered to the final mix as pre-mix stems • In the Final dub the stems come together for the first time

  4. Mixing • The Mixing Stage (or Theatre) • This is the room the final mix gets done • Fore feature films its designed to look like a medium sized movie theatre. • The acoustics are designed according to standard parameters, Dolby, THX, DTS, SDDS • The mix position is located 2/3 back from the screen/speakers • The engineer watches a full screen version of the film • Tv and other projects are often done in a smaller “music studio type” room

  5. Mixing • Monitoring • For feature films the speakers are located as they would be ina theatre. The left center and right speakers are located behind the perforated screen. • The distance between the L&R speakers is equal to the distance from the mixer to either speaker. (forming an equilateral triangle) • Surround Speakers are located at a point 120 degrees behind the mix position. • All the speakers are usually limited bandwidth from 120 hz and up. • There are one or more subwoofers to handle the low information

  6. Mixing • Monitoring (cont) • The system should be able to monitor all systems. • Multichannel mixes, 7.1, 5.1, discrete and encoded. • Dolby Pro Logic I and PL II, Encoded and decoded LtRt. • Stereo Mixes, Mono Mixes and down mixes

  7. Mixing • Console • Usually a very large console. It must be able to handle as many as 100+ line level input channels • Must be capable of outputting multiple mix formats, 7.1, 5.1 Dolby PL, Stereo and Mono. • Must incorporate machine control for playback and recording. • Must be Fully automated. • Multiple position consoles are often used. They are basically 3 separate consoles. • 1 position each for D, M, and E, mixers. • The console can be Analog or digital control surface design.

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