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Tom Fleischman

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About Tom Fleischman

  • Birthday September 15

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  • Location
    New York
  • Interests
    Music, movies, and more...
  • About
    Re-recording mixer. AMPAS, ATAS, CAS, AES, MPSE

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  1. A certain editor I know is still cutting on a LightWorks, despite the pleas of all involved. She just refuses to budge off of it, doesn't want to have to learn a new system. It hasn't dampened her success one bit. It just creates headaches for the rest of us.
  2. No one will tolerate any lines not getting recorded, so I am assuming that you mean that the iso's will be recorded regardless of what finds it's way into the mix you do. I think your question is best aimed at the the film editors. They will be doing all manner of mad and creative things with the tracks when in putting the cut together. They cheat lines from different takes, they create new lines out of whole cloth, they take lines from other scenes and put them in if need be, so there is no clear answer to that, but good communication, again, is key. Talk to the picture editor and ask them what they would like. Are the options limited to a unity mixdown which is overly noisy and may have spurious and unwanted sounds? Or would they like an attempt at a mix that they can use to cut with but which may miss some unrehearsed ad lib? I don't really know, but if I was the editor I'd probably want a mix. If something gets missed it can be found in the iso and added back in the Avid. By the time the tracks get to me at the mix stage, the dialogue editors have gone through them and selected the best options for each angle so I hardly ever see the mixdown track unless it's is provided as the best option for the shot.
  3. I don't really get all the gushing over "The Artist". It was good, but not great, and although I appreciated the homage to silent cinema, it wore thin long before the movie was over. I don't think it holds a candle next to some of this year's other films... My two cents, for what it'a worth.
  4. John, that is all true, and once you begin to compare summing busses and signal processing it becomes apples and oranges. Now if you are talking about the quality of the bounces made on two machines, you have a point. But I understood your post to mean that when playing back the same track on two different machines they sounded different. There should be no summing or signal processing going on when you are merely playing a track that has already been mixed (outside of the D/A conversion). Or did I read you wrong?
  5. John it would be my guess that the A/D/A conversion is where the difference lies. Unless it's using some kind of comprssion algorithm or dropping bits somehow there should be no coloration involved in usng a DAW. If there is, something is wrong, digital is digital. How it gets to digital and back again is another story altogether. I've heard some awfully crappy A/D/A conversions.
  6. How (or why) does one DAW "sound better" than another? I don't think these devices are supposed to have any effect on the quality of the audio being run through them. Or are you talking about the plugins and/or built-in signal processing capabilities?
  7. Perhaps I was not clear. I wasn't saying that no effort should be made to keep things consistent. Obviously it is still important for all of the reasons stated above. That said, in the old analogue days, adjusting the production track levels for the cut, which in those days was most likely a single strand mag stripe of the production dailies cut together, was a pretty huge deal. It could not be done on a moviola by an assistant or an apprentice. I worked for 12 years in a transfer room before I began doing mixes, so believe me, I know. I was the guy who did the adjusting for them. In fact, I would consider that part of my job as the beginning of the training I got as a re-recording mixer. So yes, it is important to maintain consistent levels, but maybe not as crucial as it used to be. I kinda knew that, but I had to say it anyway. What I don't know won't hurt me, if you get my drift...however when it comes to editors using signal processing? ... Now that's a whole other issue And regarding recording levels, hotter is better, until it starts clipping...that said, overly limited tracks kinda suck too, so that only goes so far.
  8. Yes, Robert. That's called mixing It used to be much more important for the production mixer to keep the levels very consistent becuase there was no way for the editor to easily adjust it when cutting different angles together. Now that we are using Avids and ProTools, it is very easy for the editors to adjust tracks that are out of whack when cut together. I mix by ear, no matter what the medium. I may change my monitor setup, but I usually use the behind the screen monitors (big speakers) and adjust the level of those when I mix for DVD or TV. I check my mixes on nearfield monitors. But those setups, once calibrated, are never changed. Theatrical features are done at 85db SPL (C weighted). When I mix for TV I turn the monitors down to 80 db to mix and then check the mix on nearfelds. This forces a natual compression of dynamic range for TV or home setups. I know from experience how my room will translate in each situation, so once the monitors are set I really only use the meters to check for clipping and that things are properly coming out where they belong. All other decisions are made by ear. As far as what levels you should shoot for on the set? If you want to use compression keep it very light. I would say leave all of your EQ out and only high or low pass if there is a really good reason to do it. That kind of thing is better left to post. Hope this helps...
  9. I don't know about the set, but this happens to me all the time on the dub stage, particularly when I'm laying in a great piece of score for the first time and it's working like gangbusters in an emotionally charged scene. I try not to let it show, but it's hard when I have to roll through the scene over and over again and it happens every time.
  10. Now I wish I had paid more attention in French class...
  11. No offense taken, and I'm glad to be able to clarify. I found this forum off of a comment over at Gearslutz, Jeff, and just happened to stumble upon this thread while browsing. It motivated me to join the discussion. I like it here. Lots of good topics to discuss, and I love to discuss...
  12. Well, all I can say to this is that you had to be there. Thelma often cheats in lines that the actors on screen are not uttering. Good luck getting them in sync. Sometimes she gets away with it. And Marty will not rest until he can hear the dailogue. He also hates ADR. So we sometimes use close mics for long shots. Sometimes we get away with it. There was also a massive amount of steam hiss on the set. No excuses, but believe me, it was not sloppy, or lazy... Sorry you didn't like the film...
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