MIXING LIVE SOUND STEREO PRO
MIXING LIVE SOUND STEREO DOWNLOAD

MIXING LIVE SOUND STEREO PRO

I do most of my post production work in pro tools these days, but I have done a lot of work in Logic Pro, and oneВ movie in Ableton Live. Pro Tools, Logic Pro, Nuendo, are definitely good DAWвЂ™s to do post production in. Your alternate option is to get the picture lock, and an export of the audio in a stereo file at the rate and bit depth you will be working, and off you go in the DAW of your choice. It is not the end of the worldВ if you canвЂ™t take a session export though. Logic Pro will reliably accept anВ OMF non embedded file from Pro Tools, and will sometimes accept and AAF.

MIXING LIVE SOUND STEREO DOWNLOAD

One, get them to export from AMC into Pro Tools, and then export an OMF or AAF file from that: Or two, buy a copy of Pro Tools, or just download the demo, and either mix the project in that, or use it as a translator to export the OMF or AAF to the DAW of your choice. If your editor works in AMC and you donвЂ™t have Pro Tools, you can do either one of two things. Generally Pro Tools will import OMF and AAF files from Avid Media Composer (AMC) really well, and Logic Pro will take imports from Final Cut, and some from AMC. They have a list of what formats they support, and they are very responsive if you have questions. There is a great session format translator that can help to convert many editing session formats into compatible formats for many DAWs called AATranslator.

If you can import an OMF or AAF file into your DAW this willВ save you from having to checkerboard the dialog yourself, and save a ton of time. mov for picture lock, and an OMF or AAF session export from their editing software. What Format?Д«e sure to tell your picture editor what file formats you will need. Remind your director and producer in the beginning of the project that they can вЂњhave it quick, have it cheap, or have it done right. If you want that level of quality, it will take that amount of time. Keep in mind that Star Wars spent a whole year on audio post production. If your director has the budget, the vision, and the desire, you may end up working for much longer. Now of course this is for pushing-it-through, low-budget films. If your film is an hour in length, just double the time to 300-600 hours. Better to give yourself the buffer though. This particular film I was working on had MAJOR audio problems, so if you are handed pristine quality audio to work with, you may be able to cut that timeline down to perhaps 100-120 hours. I would scope out a post production project in this way:ДЇor a 30 minute film you will put in between 150 and 300 hours of work depending on the quality of the audio you are given. I think that film could have benefited from another 150 hours of work, but we didnвЂ™t have that amount of time. There was so much more that I would have loved to have done for the audio mix, but we were on a serious deadline. I put 150 hours into that project, and that was rushing it. I just finished mixing audio and all the other post production elements for a 38 minute film.

Most small budget indie films run around the 30 minute mark, so we will use that as a measure to base your estimate on. Think dialog clean up, audio restoration, Foley and sound effect design, as well as automated dialog replacement or ADR work. How in the world are you going to scope out how long it will take to mix a whole movie? I should warn you here, you are most likely going to be doing a lot more than just mixing. YouвЂ™ve been mixing three to five minute songs for most of your career, and you know how many hours can go into tracking and mixing a fully polished song. Just know this, mixing music for bands is going to seem a lot easier after you get done mixing sound for film. If you have worked with other people on projects like this before, you may know most or all of the things I will cover in this article, but if you are setting out on your own for the first time, these are the key points which I found incredibly helpful to know.Дepending on the experience of the director, producer, picture editor, and most definitely the вЂњon locationвЂќ sound person, your job can vary a bit in its scope. The Basics You Should Know Before You Start.

If those previous statements are true, then it probably is a perfect fit, but there are a few differences between audio post production for film and mixing a record for commercial release. You have spent the years building up your skills, and you love movies! You think to yourself вЂњmixing sound for film seems like a perfect fitвЂќ. You have been an audio engineer for a while. So youвЂ™re going to mix sound for film for the first time.

Mixing live sound stereo