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. Decisions are made about which sounds will be used and their levels

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 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 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

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

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.