I am a film mixing engineer with more than a decade of experience mixing films and music, almost exclusively in the Surround Sound format crossing more than 250 films in my career, now working in Avid. I have mixed all the way from Mono, to 5,1, 6.1, 7.1 and Atmos. All the views presented here are my own and have no affiliation to any company whatsoever. All Logos and names are copyright of the respective companies.
Film Mixing and Sound design
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thanks for share this.For me it has been a incredible treasure hide in the net.and it has converted in one of the most important blogs.A total must see.thanks
Thank you Pablo. That was very kind of you.
Thank you so much! A ton of useful information. Quite accidentally I found your blog. Absolutely unique information from the secret world of post production sound pro. Please continue to share, a huge thanks to you.
Much appreciated Anton. Glad you found it useful. I will definitely try and share more of it.
incredible sreejeesh – this a real gem. It blew my head back the first time I read this, really helpful and insightful.
Thank you very much Eugene. Much appreciated!
Hi Sreejesh,
Its been a pleasure reading all our blogs and me being newbie you articles are really helpful and especially the ones on Dialogue/Foley/Effect/Final mixing. My all-time favorite are the ones in which you detailed the technicalities involved in Atmos mixing and routing them. It made me spend a full month referring Dolby Documents and understanding the whole routing and Dolby RMU etc.
I am not sure you have already covered this or not, I am curious about couple of things like, how do you deal with 24p 23.976p FR video/filmsa nd what is your comments on pull-up or pull-down while DCP mastering? What is your comments about the loudness int he mix room and how do you set them for your mixes? Do you do the final mix as reels or is it a full length film mix? What is your delivery requirements (do you give multiple tracks/encode them) ?
Really appreciate your efforts in sharing your learning and your articles are really inspiring indies like me.
Hi Sreejesh, im from argentina. i read the PTExpert srcipt article and i WONDER (since im asking for these for a year but i dont have the knowledge to do it) if there is a way to make my life easy (im lazy like you)
Problem is i have a digi002 control surface and a apollo 8 .
if i use the apollo as audio engine i loose the controller in 002
so i discover a bug. i load a session, change the audio engine to digi002 and have the fader, then i change it again to apollo and then have apollo as audio engine AND still the faders in digi002
i wonder if THERE IS A WAY to write a script to do this thing only one time
do u think is possible????
Unfrtunately that can’t be done. The scripts are meant to do something productive. I wouldn’t think exploiting a bug would work well and not sure if a script like that can be made.
hi Sreejesh,
i’m from Austria an i’m writing a research paper for university
i can’t find any pictures of the back Dolby Atmos RMU and the cabling.
Would you send me some pictures of it? Would be great!
greets from vienna
Paul
Hi Paul. Unfortunately I don’t have a picture from that point with me. Let me see if I can source something.
Would be great!
Thanks!
Hi Sreejesh!
Have you found a picture of the RMU’s Back?
The deadline for the research paper I’ver writing about Dolby Atmos on Saturday.
Anyway: Thanks!
Hi Paul,
Here it is:
https://film-mixing.com/2015/05/06/bombay-velvet-dolby-it-atmos-mastering/
Hi Paul, What is this research all about? Will this be available on public domain?
Cool thanks!
It’s just a diploma thesis for my sound engineering course about the technical facilities in the studios and cinema halls needed for Dolby Atmos and about the technical background.
The thesis won’t be on public domain, I think.
Ok, good. best of luck for the thesis. I am also kind of interested in the systems engineering for the audio systems for films and cinemas and now days spending more time in reading technical papers on ATMOS. really cool things happening in the domain with MRU/IMBs/Decoders etc. right from the mixing table to the theater screens !
Thank you very much for the information you share Sir.
Hello Many many thanks to sharing your big experience in audio post
Its really apreciable and usable for everyday
Best regards
Spocksone
Thank you film mixer for the articles and posts..
I’m a student and currently pursuing audio engineering.
My dream is to become a mix engineer for films.
Reading all your articles i’m able to get more knowledge about mixing..
Thank you so much.
You are welcome Gowri. Glad to know these are useful.
Hi,
I came across this website just a few minutes back. Thanks a ton for sharing information on Audio Post for Films considering the fact that one could find several websites for Mixing Music but websites on Film Sound Mixing or Designing in particular, is still rare to find. It really boosts up guys like me who wish to make a career in Film Sound, particularly in Surround Sound.
Keep up the good work.
Do let me know if there are other websites dedicated to Film Sound.
Thanks.
Hi Suraj. Yes. Check out http://www.musicofsound.co.nz/blog/ and at the end you will find a very good list of websites.
Hi, I am about to sound edit a project set in Southern India. I am looking for a commercial sound library with medium to small crowds in a village / rural type environment (no traffic). Can you recommend a library or a sound editor with a library to sell copywriter free?
Thanks.
Sure. Get in touch with Vijay Ratinam in Facebook. He should be able to help you out. 😊
Cheers, thanks!
Hi Michael. Great Blog. Keep up the good work. You seem to be the right one to ask: Is it possible to make a script – or to otherwise solve this: I have some files in a timeline (the final edit, but with a rough mix) and I want to spot the raw recorded files to the timestamps that are in the edited set of files. I can do this manually by: Selecting one of the files in the final edit of the rough mix. Copy the org. timestamp, move the cursor to the raw files, paste the org. timestamp TC to the position display (placing the marker at that spot), select a chunk of audio from that point and make a new clip from it, then select the org. final edit file again, and Ctrl-click on the new clip. This will then make sure the timestamps in the two clips are aligned, but it does not solve that fact that I manually have to do the out point – and its a very tedious process. Can it be done smarter?
Thanks for the comment. My name is Sree. Not Michael. 😀 I will give a thought to the above and figure. 😊
I am so sorry Michael, not naming you your correct name Sree! 😉
Hahaha!
I have been hired to setup a audio and video mix center. The audio is my particular arena and the video is being handled by another gentleman. I am struggling with whether to go Dolby Atmos or DTS:X. That is the first thing and secondly I am not getting from the music wholesalers that I buy from what to buy as the basics to do a good mix.
I have went from Music Studio monitors to 8, 10″ live sound speakers. I have one person stating I should buy the S6 and another saying I do not need it. So I get conflicting views. That’s when I started doing my own research and stumbled across your blog and have learnt a lot from your post.
Can you steer me in a particular direction and the benefits of that direction?
BTW, I tried calling Dolby Labs and I get a voice setting operator that is no help at all
Hi Curere. Where are you based? The idea behind DOLBY Atmos depends on what the final delivery is for. So if it’s Netflix and broadcast the spec is different than cinema.
They are doing work for Netflix and HBO. I am looking to use a Digital Mixer like the Digico S21 or Midas M32 with an Avid S3 as the controller. I need to understand how to integrate without using Q Sys by QSC . How do I set it up as economical as possible
If you are doing any work like that it would be post production. I didn’t understand the need for the Digico or the Midas.
Hi Filmmixer,
Thanks for all your time and great content! This blog is an amazing source of information/inspiration for me.
I am currently completing my masters looking into Dolby Atmos and how it is able to enhance a narrative experience for an audience.
Part of this research includes pre-paring to feature Dolby Atmos from a scripting stage, whether it is being planned to use to drive a character development, or give special meaning to a certain location, it is discussed early with directors, producers and cinematographer.
When considering Dolby Atmos for a project, what advancements can be made in pre-production stage to help with the development of narrative for an audience?
Have you ever been involved in pre-production stage of a Dolby Atmos project yourself? Did it differ in anyway to that of a normal production?
Any information or sources you may know of, would be greatly appreciate. Thanks for your time Filmmaker!
Sam
Dear Sir,
How much will it cost to have professional studio setup at home for
mixing , remastering etc like a professional studio engineer?
Please give a list of studio equipments for a professional setup.
Regards,,
Ram
Chennai
You can get in touch with Ansata.net
They will help you out.
Hi Sreejesh,
I am not on social media so writing to you here..
Mastering project is EPIC.. been consuming your work for over 6 months now.. grateful for stumbling upon this! Envious!
God Bless! thank you for not doing this.. takes time and effort.. no joke.
I hope you succeed in all your endavours!
Regards,
VRK