!st time re-recording

[mmoeding]

I'm starting a dialog and ADR Pre-Dub tomorrow. Just wondering how others would suggest going about the processing. Do you use overall TDM plugins for general eq per character on their track or do you just use audiosuite or snapshot automation on each region?

Second, do you do a noise reduction pass first off before mixing or do you do that at the end of the pre dub?

For reverb, how do you use bussing for different reverbs? just a bunch of sends to aux's with different reverbs on them and automate the verbs?

The last thing I am concerned about is what average level I should try to aim for as far as dialog goes since I'll basically be mixing the movie around it. I'm using the Dorrough surround meter plug-in.

thanks

[mikevarela]

That's a lot of questions, more than a post can answer.
You need several things before you start mixing - like a calibrated room.

Starting a mix is different for everyone, but usually dialogue is a good place to start.

I'd begin with a first pass at the original dialogue, general leveling and grouping - this is a good time to take notes about needed adr. Drop markers for this so you can re-visit with the producer/director.

For ADR, it's best to have some sort of basic comp for the guide, maybe also the first pass dialogue track underneath to spot check when questions arise.

For ADR, create a new session and insert or create beeps at appropriate spots and create many (like 30) tracks, usually mono. You'll be recording either boom and lav or just boom. Better to have a boom and lav track and use the mics used in production... also try and mimic distance to mic in certain shots to help blend the two. A good adr session will need very little in the way of processing to be mixed into the Dx pre-dub, but that takes practice. This should be your ultimate goal however. Post processing can be a real pain.

Name each track according to line or line number with the character's name in the field, this way it's easy to spot the regions your producer circled as good takes int he audio bin.

e.g. Mark_SCN1_Line3 Then each time you record PT will automatically fill in the _01 _02 _03 for takes. Take the time to rename tracks as scenes and takes change, it'll help in the future.

Once that's completed, you'll have to take the circled takes and drop them into the dialogue pre-dub on adr tracks, or right under the original's making sure to mute the originals - this is important because you'll need to go back and check often.

When mixing, you need a calibrated room. You mix to 85 on a stage for film, TV is different and if you're in a smaller room than a stage, you need to account for room volume when setting SPL measurements. Read the sticky over at the DUC, it'll explain.

Lastly, if you're not mixing the film, then call ahead and ask the re-recording mixer how he wants the dialogue laid out.
If you're mixing it ( I think you are) then lay it out based on stems, Dx, Fx, AMB, Mx and such.

[eoats]

On your EQ question I use the automation on each track's EQ for the 'in the Box' mixing.
I also use a De-esser often enough that I will have it on each track and automate it too.

The Noise Reduction like iZotope RX I'll do an audiosuite of with the original edited on some inactive 'X' tracks.
I also keep a copy of the original picture editor's dialog (OMF, AAF or whatever loading scheme) on inactive tracks.

Reverbs I'll automate as well, usually just the ADR needs this.

If your room is at 85 for a theatrical release; Level is what sounds good (peaks somewhere in the low 20s -18 dBFS).
You should look on the DUC & the stickies to get your head around this.

[Henchman]

All I can say is good luck.
Mixing a feature is miles apart from mixing docs and reality. TV
I've done them all.

[PostKID]

Sorry, Have to ask...

LA =====> Cebu

Are you working on a Bigfoot mix?

[Big Andy]

Hahaha, everyone knows about BigFoot somehow.

[mikevarela]

They post for positions like crazy.. and in this crappy market here, a nice trip to the Philippines sounds kinda nice, especially when you can work right off the bat.

[Big Andy]

I was the Mixer for their first film and though it is nice out there, I think the cons out weigh the pros (IMO).

[Henchman]

Originally Posted by mikevarela

They post for positions like crazy.. and in this crappy market here, a nice trip to the Philippines sounds kinda nice, especially when you can work right off the bat.

I don't care how pretty it is in the Phillipines. $3k per month working long days isnt worth it.
$3k won't even cover my normal living expenses.

I've been told the people running the place are really nice.
Unfortunately they're rates are highly unrealistic, and as such they'll never get anyone with any kind if proper film mixing experience to go there.
I can make more mixing reality TV and be home in my own bed every night.

[Jfriah]

Originally Posted by Henchman

I can make more mixing reality TV and be home in my own bed every night.

...and then save up for a vacation to the Philipines.

Jeff

[mmoeding]

3K isn't too bad if you're young, single, don't own anything, and don't owe money on anything. Everything is so cheap here I can live like I am making 4 times that. Plus I can travel to anywhere in Asia for super cheap, and go diving in the best waters on earth on the weekends. I'm pretty happy with it for now.

[Henchman]

Originally Posted by mmoeding

Great learning experience for me.

I wish you a lot of luck.
I just hope you didn't oversell yourself, as I see you asking very basic mixing questions that you should know, if you have ANY mix experience whatsoever.

And I understand this particular director is very demanding.

[kk@jamsync.com]

Originally Posted by mmoeding

Second, do you do a noise reduction pass first off before mixing or do you do that at the end of the pre dub?

I definitely do noise reduction and cleanup first, BUT I work on a track copy if I'm going to NR with Audiosuite and I keep it available, but hidden with no output assignment. If you have to do a lot of NR and then stack tracks, you can get in trouble if you've, say, removed too much ambience along with noise and the director wants it back. It's only happened a couple of times with long shots in very reverberant halls (like the Royal Academy), but I've been very glad I had the original version close at hand.

[danijel]

Originally Posted by mmoeding

For reverb, how do you use bussing for different reverbs? just a bunch of sends to aux's with different reverbs on them and automate the verbs?

It used to be impossible for me (on a native system) to have more than one mono, and one or two quad instances of reverb going at the same time (even if I did run the mix on two machines + a separate video).
Since Gary wrote about his workflow here, and processing power grew, I find myself alternating reverb presets less, and using more dedicated auxes. Although I still can't run a session like this, my dream setup would be:
- a mono small room convolution-type aux,
- a mono bigger room convolution-type aux,
- a mono hall (long tail) algorithmic-type aux (if needed),
- a quad small room convolution-type aux,
- a quad bigger room convolution-type aux,
- a quad hall (long tail) algorithmic-type aux,
- a quad delay sent to the quad hall above.

The mono instances are for matching the dialog and foley perspective, and especially for matching ADR with the dialog, while the quads are for making the enhanced feeling of space, off-screen effects and things like radio playing, dog barking in distance etc....
The delay is for slap-back effect in exteriors. Although I used to use 'outside' impulses, I find the tweakability of a delay + hall reverb (or delay + outside impulse without slap-back) getting me far more realistic and pleasing results to match to picture.
For now, I'm automating impulses on one mono verb and one quad verb, and then I use one quad delay, and one quad hall. But that is already a LOT less automation compared to my previous workflow.....