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Firstly, there is no set formula for this. You have to... a) train your ears b) use your ears. The only standard I would adhere to is to pick a loudness level and make sure your final mix conforms to that. -24 LUFS will be a good place to start. Always make sure that your dialogue is able to punch through the music and effects. Dialogue is king. You can ...


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Are you at least mixing at a proper dub stage? Ok, so if you only have six days... Yes you need to focus on parts at a time. Having six days you are then likely to have a maximum of five actual mix days. Last day for screening and small fixes. With such limited time you will pretty much have to go straight for final mix. The advice below is all given ...


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Keep an eye on your levels whilst mixing. Playback on many devices as possible making note on what needs altering. It is common for that to happen, happened to me quite a lot but when you keep doing more sound designs you get better each time.


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Mixes don't simply "translate". You optimize them between different listening systems making the "average" work by correspondingly creating "an average mix", rather than making the mix work only on a certain configuration. Speakers and headphones are different, but if those are what will be used to listen to the production, then it should work reasonably ...


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I hear all of you on this one, especially the OP. I can also tell a difference... ...Here's the deal: I grew up nearly deaf (and inching towards deafness). Sound didn't matter until a surgery gave me back full function in one ear. The other is bad, but with special equipment, can work up to 89% efficient, which, I'm told is average human quality for my ...


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Like Pierre de Fermat comment in the margin in regards to his "last theorem", it may be difficult to do justice to a question such as this in the size of this text box... However, we'll try. To summarise, Work on a reel-by-reel basis. All your editing and premixing should be done on reels no more than 20 minutes long. This one trick will make editing and ...


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You would create stems Dialogue, Ambience, Foley, SFX for the entire length of the film


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I don't do a huge amount of theatrical mixing, but i have done a bunch of mixing for various media, so i'll try to help you out. -20 to -12 sounds good, that's what i usually aim for with my dialogue. Leq(A) of -27dB roughly equates to -24LKFS (on Dolby Media Meter), which is a common loudness standard for broadcast, so that's why that's recommended. ...


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Most (all?) use the LFE send on whatever panner they are using for ProTools. Either the built in panner, waves, spanner etc all have a LFE send that allows you to send the amount you want to the LFE. If you only wanted a signal sent to the LFE then you could assign it to the LFE using a sub buss but depending on how and if your encoding your final mix the ...


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This is an example of binaural sound. http://en.wikipedia.org/wiki/Binaural_recording You can record binaural sound using a dummy head and two microphones that simulate human ears, or you can synthesize binaural sound with digital processing. I have a plugin called H3D Binauralizer but I don't think they make that one any more.


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It is very difficult to produce a proper theater mix in a small studio. It is also usually not a good idea to deliver one common mix for theater, home-theater and two loudspeakers flat screen. Although your method of using some references tracks to setup levels is not wrong in itself, it is not possible to reproduce the perception of a large theater with a ...


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Basically, what the festival is saying is that for play back that is using a high end professional cinema distribution, they need to use particular speaker configurations. For your film, they are just using a standard bluray playback, so you can just burn a bluray disk with it and be fine. The exact way your sound will behave depends on how they have ...


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It will play but probably won't sound as good as if it was mixed in 5.1 or 7.1. Because it's only the 2 speakers the sound will "pull" to the side for people sitting far off center. Other issues maybe be that it wasn't mixed with an X-curve and in a large room calibrated to theater levels. Your mix will most likely just come out the L and R speakers, ...


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I like to use the opening sequence of Atonement: a character typing on a typewriter becomes the rhythm for the titles. So the switch is sound design to music, as well as diegetic to non-diegetic.


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