3

Rock on, Karol! I'm always interested in the aesthetic side; the decision making process as it relates to the story. Why folks make the choices they do, how they perceive the implications of those choices in relation to the overall narrative, and whether or not it had the intended effect.


3

collaboration always makes for better stories than technique IMO. So stories about working with directors, stories about working with actors, stories about working with the final mix team, etc. I also like case studies and how not to do it stories. :)


2

Every film I have ever been a part of has one shared element: WORKFLOW. Each sound crew approaches it differently, and does each picture department and each mixing stage. How they work together is critical and affects the entire process, from the first day of turnover to the final day of M&E. There have been published discussions on this topic but I don'...


2

Welcome to broadcast mixing. ;) I would suggest using an EQ to carve out some space in the music track to fit it around the dialog. That way, you can pull the dialog track down a little without having to touch the music's levels, and it should fight less. You can do that and set it to just hold over the whole music track, or you can automate the ducks in ...


1

Firstly, with any sort of sound post work on features, don't consider a feature length project to be one single timeline. Best practise with long-form work is to split the project into "reels". This should be done in conjunction with the picture editor. Splitting the project into reels assists with undergoing re-conform operations as there is no such thing ...


1

The fundamentals have been covered. How about, every now and again, a deep technical dissection of a single sound effect? Also some of the finer storytelling aspects wouldn't go wrong at all (Ondaatje's "The Conversations" did this very well). Maybe an occasional horror story from the dub stage, if anyone dares? Fewer stories about how director X works with ...


1

Shaun hits the nail on the head as does Arnoud. We've switched to LUFS here and noticed that it all comes down to less compression across all tracks and on your master channel and creating troughs in the EQ of the music for your VO to sit in. It's difficult to comprehend at first, but after you've done it a while it makes sense. I found my mixes have more ...


1

try to de-essing voice over or reduce its energy on the high frequencies. LU measurement is close to our earing perception, too mucch energy on 3,5/5khz make the measurement jumping. Giorgio Riolo


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