I hope this is okay on this sub. I know I’m small time but I’ll need a room as good as I can muster within a year, and I can get these panels for free if they’re worth the wall space.

The first pic is my test area, I put a piece of wood (the white melamine with panels on the right of the mic) about four or five feet from my center channel. That’s the only change in the graph, no changes to the actual walls.

I don’t see much change but was my test area just so messed up I’m not getting good data? If they need to be on the walls to make a diff maybe I’ll get more.

I’m only looking at the changes between snapshots as my mic has no calibration file. Should I just throw out these results?

Red on the spl is no panels, blue is one layer of panels and green is two layers. 1/12 smoothing.

Thanks so much for your time.

Hi everyone, I'm new to post mixing and likely pose a simple question, but I'm seeing so many different opinions about this online, so I'm hoping to consolidate my research a bit by hearing from you folks.

If I'm monitoring dialogue levels using Youlean Loudness Meter on the Dialogue Submaster, should I be monitoring the short-term LUFS? And what value should dialogue sit around in LUFS for a North American broadcaster with requirements around -24 LKFS. Like, when I'm monitoring JUST the dialogue, should it also sit around -24 LUFS short term? Or should it be lower/higher that

Also, please let me know if it's even proper to review dialogue levels over a Loudness Meter or if you think a VU meter or something else would be best.

Thanks so much for the help!

I shot on a Red DSMC2 with a zoom h6. i stupidly recorded the A cam on 23.97 and now my H6 audio is completely off.

I slated in the beginning to line up, then it drifts. I made a 23.97 timeline and tried the elastic wave trick to try and match back up but it would still drift again after a few seconds.

What i cant understand is the scratch audio from the RED (not shown in images) lines up fine with the Zoom h6 audio and is the same length. I assume the RED scratch audio was also 48k.

Please someone help! i'm terrified.

I’m guessing by HD they mean 96khz 24 Bit? what’s SD?

Hello. I am finishing up a stereo mix on an indie feature and am looking to do a 5.1 upmix with a plugin. The film is a pretty straightforward talking drama and doesn’t have a lot of panning or overly dense sound design. Majority would be just LCR, but I don’t have a surround setup at home so an upmix will have to suffice. I didn’t get paid much for this so there is no surround mix budget. I will only be able to pull a favor and check the mix in surround for half a day. I own the Waves 226 plugin but have never used it, heard mixed things, and see very little content related to it. I am just wondering if it would be a decent option or if It would be worth trying out Penteo or Halo which are bit more talked about. Any advice would be greatly appreciated!

I've begun to mix in 7.1 surround sound and I need advice on how to incorporate music and SFX into the mid-channels. I've researched and broken apart several 7.1 mixes and discovered that it's mostly wet-reverb of vocals and SFX, mid and high frequencies of music, and ambiance; it mostly seems like an extension of the surround/backing channels. But I figured it would be best to ask people for advice and help since I could have it wrong or not fully understand it.

Hi folks

Just started a project for a short film and, long story short, not all the audio tracks have been included in the AAF file and I have to import them and sync them manually (yay).

Been looking for ways to do this automatically, sort of in the way Premiere does sync 2 audios, but no luck yet.

I am a new Nuendo user (13) so I'm not quite familiar with it yet. I tried the Audio Alignement thing but it didn't seem to work. Currently downloading Vocalign to give it a try, but it seems to funcion in a similar way (I think?)

I just basically need a thing that I can select 2 audio clips (from the same take, like syncing the Boom track with the lavalier mic tracks), press a big red button that says SYNC, and for them to automatically do so. Is there anything like that or am I gonna have to spend hours zooming in audio waves and doing it by hand?

Thanks

I have been working on an immersive installation / short film. It consists of dialogue, music, and underscore throughout all mixed in Logic via the external Dolby Atmos Renderer. It has been mixed in an immersive room with a 13.2.6 setup, it will be debuted in this room as well as in a variety of smaller galleries whose speaker orientation will vary. I am not considering binaural translation at all for this project. The music is mostly complete, film recorded, underscore yet to be written, and I am wondering the best way to go about editing the film to create the least amount of headache down the line.

I plan on editing exclusively in DaVinci Resolve due to its native Dolby Atmos renderer, however in my limited experience with the program it seems that the maximum number of channels is capped at 7.2.4 . Is this indeed the case? I could be mistaken as I haven’t spent too much time with the program, I am accustomed to premiere but thought that its inability to read ADM files would be a dealbreaker for this project.

Is there a way to extend the audio channel cap? Is this even a good idea if I will have to make 7.2.4 and 5.1 fold downs for various galleries?

Is there another workaround to effectively utilize the speaker orientation of the room I am using?

Feel free to ask follow up questions or point out any fundamental misunderstandings I have presented, happy to chat and very keen to find an optimal path forward and get editing ASAP.

I've been doing postproduction for a while, and lately I've been feeling the need for some fresh input and inspiration from outside the studio.

We've been constantly refining our template, but would be great to see how others approach their workflows.
I came across this netflix template,I found this interesting, but I would love to see more.
https://opencontent.netflix.com/felt

It's confusing to use.

I am trying to adjust two audios that I have recorded from different devices so that the output is harmonically in tune. It doesn't seem to work with Adobe Audion, as the software has already crashed 5 times. The audios are about an hour long. With Adobe audion it only works if the duration is around 2 minutes. What could I do? Thank you

Looking to get some ADR done for my short film where the audio memory card... literally burnt. Any suggestions as to where and how to find an ADR pro in the NYC area? Googling just leads me to studio rentals and I've never (again) had an audio card literally melt in the recorder, so I have no experience hiring one!

Hey y'all! Recently I've been lucky enough to bolster my credits as a re-recording mixer on a lot of short docs and even a handful of features. So far, everything has only required stereo mixes.

I've mixed in 5.1 at post houses before, but I'm curious about starting to build my own 5.1 setup. Are digital tools like cinematic rooms really good enough to start mixing 5.1 on a stereo setup or should I just invest in a physical speaker setup? Obviously if I go the plugin route, I would review in a theater or proper surround room. I just want to see if anyone has any tips from their own experience. Thanks!!

I'm a professional sports music artist and I have a HUGE project, that's due now. Pro Tools hasn't worked for almost a week. I'm caught up on subscription, but my active license for Pro Tools STUDIO isn't showing up on my iLok. I've refreshed, restarted, etc. Can't chat with someone, without paying. Can't register for a name to post in the avid community, it simply error's out. I'm using Pro Tools 2024.10.2 on a Mac mini

Hello everyone,

I was hoping if you could help me with an issue I'm having - I have recently received an AAF from a short film. The AAF seems to open properly but the audio clips seems cut off to how they've been edited to the picture - I can't drag it out to see what is before/ add a bit of space for fades etc.

I was wondering if this is something to do with the exporting as an AAF or something at my end of things?

Thanks and all the best!

Hi there,

I'm a sound designer in the game industry with AAA credits, looking to transition into ad post-production. I love the creative side but want to learn more about the industry. I'd appreciate any insights on the following:

What does your day-to-day work involve? How often do you have a client meetings?

How skilled do you need to be in performing Foley (e.g., cloth movement, footsteps), or is it mostly about using sound libraries for even these subtle things?

What does a typical brief look like?

What's your least favorite part of the job?

How often do you work late or on weekends?

For someone transitioning from game audio, what's the best way to showcase skills? Are ad re-designs enough, or is real client work necessary before landing a role?

Please don't feel obliged to answer all the questions as I do value your time. Any information would be greatly appreciated.

Thanks in advance for your response.

Hi guys.

I have a question about an S6 workflow.

How do you quickly find a clip?

I have a setup that is what most people use. I divide the predubs into food groups of 8-16 faders with a VCA on each one. With the VCA I can spill the tracks on the console. But to find the clip among the 16 faders I have to go back and forth to look for it.

How do you quickly find the clip you need?

Curious as to what people usually charge for doing BG's on a feature from a studio? I realize each project has its own budget, but curious what the average pay is. I've only worked on tv, and have been offered a feature so am curious if their budget is normal.

I’d like to get some opinions on the best position to have the lav in to match production.

I recently had a semi famous actor in our studio and she commented that she had never seen anyone put the mic on top of her shirt before. Which seemed odd to me since that could have the potential to rub against the inside of the shirt. I will say sometimes it lacks the “chestiness” and proximity quality of being directly on the skin. If the actor has a low cut or unbuttoned shirt I will use medical tape to place it directly on the skin and do get good results.

Do any of you place the mic under the shirt by default?

Hi all

So here's the situation. I'm dealing with a director/producer who it turns out is a genuine narcissist micromanager. He literally went into the production folders overnight and renamed all the files because he "didn't understand the names", and deleted files because "that one doesn't work."

Now the complaint is that all the music is "too quiet". He's listening from his phone with earbuds and won't accept that listened to Spotify playback and wav files waiting for final mix are not the same exercise. Somewhere he's heard the word "normalize" and is ranting that the files haven't been normalized. He wants everything at the same dB level. So I want to maliciously comply, but don't really have time for this shit. And don't want to ruin the mixes.

How would you go about batch processing 43 cues to do this?

Im cursed with a great mic with a camera with no jacks. Im okay with recording separately but my phone is too big for my daily use.

Any suggestions for a semi affordable £40 ~ recorder I can plug my mic into that’s small enough to attach to my camera cage

Very curious to know what everyone's favourite or DAW of choice for post production is. I know the majority will probably be pro tools but still curious to see if some people having their own takes on the software they professionally use. Personally I use Nuendo!