Hi dear community:) I’m a soundeditor in an audiopost firm doing mostly arthouse films and I’ve recently been tasked with doing the TV mixes for our cinema dubbing projects. Im struggling to get to the expected EBU loudness range of 18LRA. For example the cinema mix of the current film ist already at -23lufs but has 26 in lra. I managed to get it to -22 but everything above that feels to squashed. Like the 3 music sequences would be too quiet then. On quiet passages I would raise the ME but I don’t want those ambiences (especially in this film) to be so loud all the time..

Paradoxally when I’m home watching movies in my untreated room I often find myself adjusting volumes in loud passages 😅

As I don’t have much in experience in this field I would appreciate any input on workflows and methods, thank you so much.

EDIT apparently I’m misinformed the LRA is not a requirement by the EBU but some networks have those guidelines

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Welcome to the AudioPost Mine. There's going to be a lot of dirt but we hope for some gold too.

I've been watching Person of Interest and one of the main characters, Jim Caviezel, has a voice that makes me think of the 30 rock whisper - odd with Baldwin and the guy from arrested development..

Is it his voice, or audio edits to make whisper the same level as the other actors?

Hello. As the title would suggest I am thinking of accepting an offer of working on episodes for a TV series, but the issue is that I don't think I have a good idea on how to approach such a task on such a strict deadline with my current workflow.

Don't get me wrong, I know how to use the DAW of my choice, I know all my plugins, izotope RX and all that. The issue is that I try to edit very carefully (to make sure that there are no bad overlaps or transitions and that the boom and lav are in phase etc.) and I'm also used to being careful about removing redundancies in audio since I'm not sure how often I can trust algorithms to do much of the heavy lifting on their own (i.e. just selecting everything and clicking "DeClick"). All this isn't a problem when I'm given time to tinker with that, but for this particular job I would need to dramatically speed up my workflow. I heard of a colleague who is able to basically edit and mix a whole episode in only a matter of hours and I would genuinely love to know if and how that's possible to achieve.

Any advice would be greatly appreciated and thanks in advance!

Hey everyone,

I’ve been running a recording studio for a while, mostly focused on music, but I’m starting to feel like it might be time for a shift. Lately, I’ve been thinking about moving into audio post. I still love working with sound, but I’m wondering what the work is actually like compared to music recording. I did some dialogue editing and found it painfully dull, so I’m wondering - are the other aspects of audio post just as tedious, or is there more variety and creativity elsewhere? Do you guys enjoy it? Anything you wish you knew before making the jump?

Also, I’m considering moving to Chicago also. How’s the post scene out there? Are there opportunities, or is it a tough market to break into? Appreciate any insights from people in the industry!

Hi there,

I'm looking to rent a space in Los Angeles for a producer/songwriter I represent. I'm looking for 900-1200 square feet, a control room and live room with high ceilings, turnkey in terms of wiring and acoustics, 3-10 year lease term, ideally in the Burbank, Glendale, Pasadena, Eagle Rock, or Glassel Park. Both rooms need to be private if in a building with other tenants. Looking to sign a lease asap.

I recognize that this might be the wrong subreddit, but post prod rooms / stages are spaces that I think would work for this scenario. Any and all leads on buildings, realtors, or studio lots would be greatly appreciated.

Thanks!

anyone got AATranslator and able to convert a sesx to an AAF for me? thanks 🙏

A client is asking us to convert a 5.1 mix into a hearing impaired track. Anyone have any experience and or tech specs for this? We're not the original rerecording mixer, it would have to be a fold down.

Hey everyone!

I'm a freelance Foley Artist, and most of my experience comes from working on films and series. Recently, I’ve been really interested in exploring Foley for games, as I’d love to gain experience in this area and better understand how it works.

If anyone here works in game audio or has experience with Foley in games, I’d really appreciate any advice or insights!

Also, if someone is working on a small project and needs Foley work, I’d be happy to collaborate to get some hands-on experience.

Thanks in advance!

I have a client who sends me AAFs exported from Premiere. A couple of times now we’ve had an issue where where a couple of the audio files seems to come in without the edited info and just starts from one. So for instance if the original audio was 12345678, and the client cut it to be 234/567/234, it will import as 123/123/123. We’re both very frustrated but I’m nearly certain the issue is on their end. Has anyone encountered this? It’s hard to google.

Hi everyone, I have 6 years of experience as a sound editor in the film industry, with a strong focus on crafting ambiances and roomtones — something I’m particularly passionate about. I also have extensive experience as a sound effects editor. I've worked on over 40 feature films, documentaries, and series, many of which have been selected at prestigious festivals such as Cannes, Berlinale, Venice, and the Oscars.

I'm fully aware of the differences between sound work for linear media like film and interactive formats in game audio. I understand that tools like Wwise and Unreal Engine are key in the game industry, while film sound relies primarily on Pro Tools combined with various plugins.

Given these differences, do you think I have a realistic chance of being hired in the game industry? Also, would my film-focused portfolio still be appealing to game audio employers? Any advice on making this shift would be greatly appreciated.

Thanks in advance!

I'm new to audio sync so I apologise if this is a dumb question but I keep getting conflicting answers off the net.

I have a sony a7iii and a rode wireless pro kit. I want to start syncing audio but the a7iii doesn't have timecode. If I purchase 1 timecode box (Was thinking the deity tc-1s) can I use that with the rode wireless pros since they have timecode of their own? Or do I have to buy two timecode boxes regardless? Never used timecode so not sure how it works.

Does anyone know of any audio post editing studios or other collaborative audio/sound design groups in the Denver area? Doesn’t have to be an actively hiring paying studio, and while that is a plus, I’m mostly looking for a community to share work and make projects with.

I’ve done extensive research into this, and it seems like the active audio production communities here are primarily music production based, which is not my jam. I’m looking for people in the Film/TV/Audio drama space.

I have to put together a recording of a poem set to music - this will play during a memorial happening soon. I’m familiar with video editing but no knowledge whatsoever of sound editing. What type of file is needed for just the voice recording? And for the b/g music that will be low-key playing along the poem which is the recommended file format? I’m editing on my old iPad so no hi tech equipment - so just basic low-fi DIY stuff. I know I’ll have 2 tracks to put together (audio and music) so nothing complex. But for a newbie with no time for a steep learning curve what’s the recommended app to try out on an ipad? Thanks for any input here in advance!

I’m currently mixing a interview show for youtube (this is my first gig) and the editor keeps saying “forget about the room and focus on the voices”. I think he say that to me because my mixes got too much dynamics, also he says “its needs to be louder, the soundwave needs to be a brick” I don’t like to push a limiter because i think its show the bad treatment of the studio and how cheap is the gear that they use (lavaliers with temu capsules) But maybe i’m wrong so I ask you guy some advice for mixing this type of show, target Rms, Lufs, how to use compression and limiting and so on.

Hi guys looking for some advice. I've been running voice-over and recording sessions remotely with clients using Zoom and PT Audio Bridge. Works great. But I found a problem, here in Aus government clients only use Mircosoft teams and not zoom. Issue being Mircosft teams isn't working like zoom. It just won't use audio bridge as an input or output on teams like Zoom does.

So question being anyone have a work around, at the moment it's just a dummy laptop in the booth with talent but if love a more elegant solution.

Any thoughts or ideas are appreciated

I'm sound designing and mixing (and all other post audio) my first feature film. It's a star wars fan film (no budget). What advice and/or recommendations do you have for workflow/processes? And do you have any free/lower priced sound libraries that are worth having? Thanks in advance!

Hey, what do you guys use for syncing waveforms, I'm trying to sync a picture editor's guide track to the audio rushes for a short film - are there any tools for Pro Tools that can sync by waveform?

The standard seemed to be the Facebook Spacial Workstation which I have tried to download and have failed so it must not be compatible with my more recent software. Are people using the Facebook plugin? What are you using?

Struggling to find decent recordings of Italian police sirens. Does anyone here have any and would consider a trade of some kind ?

Not looking for ambulance.

I'm in the process of setting up a 5.1 mix room and looking into SPL meters. I've heard people recommend the old Radio Shack one so am looking into picking up one of those.

I've also read about the necessity of calibrating your SPL meter with a separate tool like the Reed Sound Level Calibrator. My question is, how necessary is it to calibrate a new meter, and how often should you do it? Unfortunately, the calibration meters are generally much more expensive than the SPL meter itself so wondering how much of a necessary expense it is.

Looking for recommendations for a studio in Boston area where I could do a mix pass on a low budget feature. Curious how to locate a mixing space that’s basically calibrated monitors and an audio interface. Would this exist or would I generally need to pay the day rate for an engineer as well?

Thanks for any help!

Evening,

I have just finished the book “dialogue editing for motion pictures” by John Purcell. Very helpful and fully recommend.

Now on the lookout for some more books or resources that you may recommend.

Ideally in the realm of learning to mix for video, (animation, docs, short films etc)

Cheers!

Hello,

I’m trying to decide which interface should be better for my new post room. The idea is to be able to do edit for film/tv, in surround (5.1).. And some mixing for small budget projects..

I’ve been looking at RME’s UCX II… But now there’s the new Audient iD48… it’s appealing.. but what do you think? I’ve always heard about RME’s excellent reputation.. although it’s more expensive, but if it’s a different league, I don’t mind… I want to acquire an interface that I can use for a long time with no problems..

Is there another interface you suggest?

Thank you in advance,

Hi guys,

I got Adobe audition recently but it's not working good at all. Every time I try to record something, it freezes for a few milliseconds, then continue recording, and freezes again. I have a video but Reddit does not allow me to upload it.

Any ideas? I tried different versions but no luck. My computer is good enough to run Audition smoothly btw.

Thanks in advance!

Was looking to buy the Focal Shape 65 for Post mixing. Came across several posts touting the Eris Pro 6 line. I did demo the Focals and they were amazing. Trying to find a local demo of the Presonus. I do realize it's a massive price difference. Just wondering if anyone here has experience with the Eris Pro line.

I have been using Epidemic Sound for my sound design need for over a year now and I'm beginning to think that Krotos Studio Pro might be a better option for me.

If you have used both products, please advise me on which subscription to go for and why.

I’m currently in post production on my first low budget feature film. I don’t know how to officially mix the final product but I’m wondering if it’s a good idea to learn how to. This is a “shoestring budget” so I’m concerned with the quality I would want that paying someone would be out of my price range. I’m doing all the editing,vfx, coloring and sound design as I’m skilled in those departments. But I’ve never tried to properly mix anything. And the movie is pushing 150 minutes (which I’m hoping I can cut down).