I did a feature that was never going to film, just all digital, and the re-recording mixer insisted we do reels. I was kinda green then, but I knew a little bit and asked him why, because there was no reason to do so and it created a lot of work for the picture editor. I got the classic "That's just the way we do things here" answer with no explanation. I never worked with that mixer again and that post house has since been shuttered....and it was a BIG post house in LA.
Sound design request
- Thread starter ronin99
- Start date
The projects I've worked on all digital not going to film. However, I do see an advantage of going to reels.
1. If there does end up being a picture change, you only have to worry about 1 reel instead of the entire film.
2. It allows you to really focus on a 20-30 min piece instead of the entire 90-120 min film.
As I mentioned, the thing that threw me off with them was I'm used to receiving 1 file in the end, even when working in reels. That way if a composer has music that crosses a reel, which does happen, it can still be used and finessed in the mix. Moreover, I don't have to worry about how things will sound across reels.
For the sake of argument though, traditionally, if I turn over reels to a post house, should I be getting a single file back or should I be getting 6 separate files, one for each reel?
1. If there does end up being a picture change, you only have to worry about 1 reel instead of the entire film.
2. It allows you to really focus on a 20-30 min piece instead of the entire 90-120 min film.
As I mentioned, the thing that threw me off with them was I'm used to receiving 1 file in the end, even when working in reels. That way if a composer has music that crosses a reel, which does happen, it can still be used and finessed in the mix. Moreover, I don't have to worry about how things will sound across reels.
For the sake of argument though, traditionally, if I turn over reels to a post house, should I be getting a single file back or should I be getting 6 separate files, one for each reel?
Noiz2
Sound Ninja
You should specify what you want. You are hiring them after all.
I like the idea of working in reels, but you can do that virtually, with out actually breaking up the video. IF you are really working in reels then you can't have things like music cross over because it will glitch when it's played back in the theatre. It gets really tricky deciding where to make reel breaks because you need to have a dead space to do the change over.
If you are mixing for reels you grab some of the sound from the end of the out going reel and cut it in to the head of the next reel so you have a little cross over window.
For you I would want one file. You can't have music cross over otherwise.
I like the idea of working in reels, but you can do that virtually, with out actually breaking up the video. IF you are really working in reels then you can't have things like music cross over because it will glitch when it's played back in the theatre. It gets really tricky deciding where to make reel breaks because you need to have a dead space to do the change over.
If you are mixing for reels you grab some of the sound from the end of the out going reel and cut it in to the head of the next reel so you have a little cross over window.
For you I would want one file. You can't have music cross over otherwise.
What is the standard protocol when working with a post house after you deliver the sound materials from the client end? I'm assuming, general cleanup and dialogue are done with them but at one point is the director brought in to give feedback/notes? Is this during the mixing stage or before? Can stuff be changed during the mixing stage?
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Depends on what "notes" means. When you get to the point where you are hiring sound professionals and using post houses then you kinda know what you are getting before you hire them if you've done your due dilligence. Most of the time the director only shows up for the final mix, if at all..and that's just for features. Directors rarely show up to final mixes for tv shows. On TV shows, you don't have time for big changes. You might for features depending on the deadline, but I've seen big changes requested from the final mix stage, and it's a NIGHTMARE for the crew having to get changes quickly to the mix stage, especially if it's a complete overhaul of a scene.
Noiz2
Sound Ninja
As Dave kind of said the protocol varies with the kind of project. My experience is a bit different in that on big films the Director has usually been involved from before the editing starts with spotting sessions and is often fed parts of the show to add into their temp cut. So in my experience on bigger films is that there has been quite a bit of director involvement. On ads it depends. Often it's the editor or producer that you deal with more than the director and directors are often not involved much with the mix. THey usually show up but spend most of their time on the cel phone lighting up their next gig.
Low budget films that I'm doing I will try to get the director in once things get to a certain stage. That depends a LOT on the director. Some you can show a work in progress to and some will freak out if everything is not in place. But any signature FX sound I will send demos of as early as I can.
Ads and Games are a constant round robin of changes up to the final, films less so. Most of the changes on a film come from chasing picture changes.
Generally you can change as much as you can afford during the mix. It is the most expensive time to make changes so I wouldn't recommend making much in the way of content changes but...
Many films go through a Temp Mix. Exactly what that is is variable but now it's usually something very close to a fast final mix. On a big film it would be done to either stereo or a matrixed stereo and not to a Dolby Digital since it will be used for test audiences and it's pricey to bring in the Dolby boys. On a low budget that is smaller and mixed "in the box" it is generally just the first version of the final mix.
A true temp is used for preview screenings and often results in some picture changes.
Low budget films that I'm doing I will try to get the director in once things get to a certain stage. That depends a LOT on the director. Some you can show a work in progress to and some will freak out if everything is not in place. But any signature FX sound I will send demos of as early as I can.
Ads and Games are a constant round robin of changes up to the final, films less so. Most of the changes on a film come from chasing picture changes.
Generally you can change as much as you can afford during the mix. It is the most expensive time to make changes so I wouldn't recommend making much in the way of content changes but...
Many films go through a Temp Mix. Exactly what that is is variable but now it's usually something very close to a fast final mix. On a big film it would be done to either stereo or a matrixed stereo and not to a Dolby Digital since it will be used for test audiences and it's pricey to bring in the Dolby boys. On a low budget that is smaller and mixed "in the box" it is generally just the first version of the final mix.
A true temp is used for preview screenings and often results in some picture changes.