PMC Posted October 26 Report Share Posted October 26 Tourtelot, I get what you mean, ha, but I meant I post mix in a sterile environment. Not that I try for a sterile mix (where you can hear the gate, attach, brick wall, etc.) and not hear the environment in which the dialog was recorded. Lav only mixes seem so artificial to me. I always ask for a boom or plant track to be active even if the boom isn't close so I can mix in some 'air.' Quote Link to comment Share on other sites More sharing options...
Constantin Posted October 26 Report Share Posted October 26 On 10/3/2024 at 10:46 PM, Fred Salles said: most of the time he delivers his mix and POST fader ISOs. On scripted fictions obviously. He has very good valid points about that choice. ISOs are supposed to be a backup plan in case of unexpected issues. My colleague said when he makes a mistake in his mix he asks for another take (when the focus puller makes a soft shot we do another take right?). Delivering PRE fade ISOs is actually encouraging post to do their own mix and not use yours. With postfader isos they can correct phase issues and make minor adjustments but they work with what you have chosen to mix. To be honest, this is a stupid approach. It’s deliberately crippling post choices and possibilities and forcing your own vision of the scene down their throat. Very often we are not even inna position to properly assess the sound and mix because the condition around us is often terrible. Sometimes post can make use of the dialog not in the mix, for repairs or whatever. This type of mixing has nothing to do with experience or being brave or whatever, it’s only about vanity. Quote Link to comment Share on other sites More sharing options...
Patrick Tresch Posted October 26 Report Share Posted October 26 Jacques Sax told me that they used Stuart's mix for the final mix... One question though. Do you send a mono feed to the director/camera or do you have a stereo output? Wich tool do you use to send the audio? Thanks Patrick Tresch Quote Link to comment Share on other sites More sharing options...
Matthias Richter Posted October 26 Report Share Posted October 26 what is Stuart doing on the top of the board ALL the time? I‘m curious … Quote Link to comment Share on other sites More sharing options...
ramallo Posted October 26 Report Share Posted October 26 On 9/30/2024 at 9:12 AM, Samuel Floyd said: I'm wondering just how important adjusting the mix is for location sound. Why does it matter if the mix sounds good in a 2 track print that won't be used for a finished product? It seems as though the job is much mores focused on capturing the best sound possible, then letting the post sound department figure out what's best for the mix. I imagine the dialogue editor would prefer the 2 track mix to be clean but how significant is that? (New to location sound so if the question sounds stupid, my apologies) Nowadays, IMMO this mix is for quality control on the set, for example for the director (if he/she uses headphones 😈 ), for monitoring (Script, showrunners…) and to record a reference for viewings. And that mix is the guide in post in the image editing, but not as the final mix. I insist to my students that they first check that the ISO tracks are correctly recorded and then they dedicate themselves to the mix. In other era with one or two tracks this mix was final (But in this era had less microphones on set) But a few months ago a production asked me if I would be willing to mix live for a series, a very low-budget series with many pages of script per day, to have minimal post-production sound. I told them that it was no problem, but that I was no fortune teller, that if there were so many pages of script, it wouldn't all be very rehearsed and that this could give rise to a lot of improvisation and that I could miss things. Quote Link to comment Share on other sites More sharing options...
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