Quote:
Originally Posted by georgia  think about having to record on to mag track every SFX we do today. Then splicing the whole thing together on a gazillion mag tracks all running chain driven on a gazillion dubbers, adding the dialogue tracks and the music and trying to mix this stuff without automation... "thems was the good'ol days...." 
cheers
geo |
That's the way it was when I started. It wasn't so bad, there weren't as many tracks as now and you had much more time to mix a film. The editors also were very diligent about how they laid out the tracks. When it came time for fixes there was a lot of discussion about how long it would take to match in and out and whether the fix was worth it. That was a great way to differentiate between inconsequential nit-picking and making meaningful improvements. The nice thing about those mixes is that there were a lot more spontaneous moments because you had to fly by the seat of your pants and not try to micromanage every little sound moment. However, I prefer the current mixing process and tools, but I think sometimes films get the life mixed out of them these days.