Hi dear community, Im an aspiring sound designer and so far i have been doing some audio post work for students and it has been very beneficial for me. Now AAF files is becoming a reccuring subject which is something im not able to work with in Ableton(haha). So i think a DAW switch in unavoidable in the near future. Now i know pro tools is the big one but it seems like most users think its annoying. Im aware of davinci and nuendo as good alternatives but would like to hear from you experienced people. Whats your opinion?

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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.

Hi everyone,

I'm originally a composer in the ad world but I guess low budgets and tighter timelines have led to more and more requests coming in for me to do the sound design too. So far it's been for small scale online ads so nothing too complicated, everything came out of my hand and I just mixed the sound design together with the music. Now I received quite a big advertising project with a lot more post production involved and I don't wanna mess this up, so here are some basic questions (and I mean it, they're very basic, I never had to take care of these aspects so I'm completely new to this, please bear with me)

- I got the aaf to the final edit. All sounds are 2 mono tracks of the same sound, I guess to create stereo but they're not panned. all of them, ambience, foley, music etc. Am I expected to also deliver all sounds in mono doubled? Or can I just sound design in stereo files?

- what does sound design in this context mean? Does it mean to replace all the sounds in the aaf file or to top them up with more sounds? There's everything, from room ambience and voices to foley and whooshes.

- finally in what volume (LUFS) do you deliver? Do you deliver mastered or unmastered for the final mixer? Do you deliver in aaf format or just multitracks? Do you deliver FX buses exported separately as tracks?

thanks for your help!

Hello everyone! I apologize for any mistakes, my English is not very good. However, I need help. After the death of my father, I was left with a Phonosophy brand device, and I do not know what model it is and how to use it. On the official Phonosophy website, the manual is only available in German. If there are any audio system experts among you, I would be grateful for any help in understanding what to do with this device. My father valued this device very much and always said that it was not cheap.

So I'm working on a film that starts out very quiet.

Basically just room tone at -50 LUFS integrated and cloth, step, and assorted foley at around -45 LUFS.

There's no dialogue.

This is the first 60 seconds. The next scene is just dialogue which I want to be around -27.

With the next scene at this level, the jump in volume between them is significant.

So my question is: Should I turn everything up in the first scene? I don't want to bring the room tone up and I don't really want to draw attention to the foley.

The mix sounds good at this level, and weirdly the transition sounds good with the dialogue at the next scene turned down to around -35.

I'm kind of mixing by the meters here, as I'm on 2.1.

Speakers that are calibrated to 75 dB as l'm in a small room and around 3ft away.

Hi All,

I'm conforming an Atmos mix (one PM bed and objects). I'm sure I can cut the bed like a stem. But can I cut the objects with normal crossfades? Is there anything I can't do with editing the objects? Thanks!

So I’m taking a break from my usual AD work and dubbing a series into english. It’s my first time using Voice Q in over a year.

Last time I used v17.? and it was rock solid. I had to replace that computer, however, so I installed v18.2 and holy crap it’s wonky.

Sync to PT via MTC: sometimes when I use a preroll in PT it just jumps WAY out of sync.

We have to close and reopen VQ whenever we change projects

Sometimes we just have to close and reopen VQ

stutter on playback

making a new line knocks other lines out of sync

every time the director re-opens a project she has to rearrange the windows

probably some other stuff i’m forgetting

The director, who dubs with VQ full time, says this latest version is buggy in general. Is anyone else experiencing this type of shenanigans? Anyone know a previous version I can roll back to? I can always roll it back to 17.? but I’m hoping there’s a newer happy version…

Anyone else in the post sound world despise Adobe Audition with a passion? Currently working on a final mix for a client; their previous sound team used Audition and due to tight schedules I was not able to transfer the project into ProTools, so had to work in Audition instead. The MOST buggy, awful software I've ever encountered. Even on a top of the line workstation, it could barely play back a standard (under 100 tracks) session without skipping, freezing, crashing, and otherwise acting like a drunken donkey. Tried pre-rendering everything. Tried reducing video quality. Tried adjusting sample rate. Tried deleting preferences. Tried re-installing. Tried asking it nicely. Eventually it sort of worked. And then didn't.

So please...share your hatred everyone!! I must vent.

P.S. Still can't get it to play a 1080 ProRes file at more than 1/2 resolution without skipping and sending my CPU usage to 100%. I WANT IT TO DIE.

[RESOLVED]

So I primarily work in ad space and receive OMFs from video editors. Premiere makes a mess of AAFs and they haven't worked even once for me, so OMFs rule the workflow in my case.

But the issue is that since OMF separates each track into mono, I can't find a way to get them to stereo and retain handles. I have to pan them and make edit folders- this is really tedious. It is fine for dialog since i can just grab a mono copy but with music tracks or stereo effects, it's a really time consuming process unless I'm willing to just crowd up the working space.

Nuendo doesn't support dragging two mono tracks onto a stereo track like PT does. So how do you guys work around this? Any help would be appreciated. My turnarounds are gonna become much shorter and I don't want to be wasting more time than required for assembly. Ideally, I don't want to export a new stereo file and then place it, neither do i want to re-edit the tracks to match. Is there any other workaround apart from creating edit folders and outputting to groups where the group track acts like the stereo track.

Assuming it's not possible, does anyone hear noticeable difference or have issues working with two files .L and .R panned compared to a stereo interleaved or am i just overthinking?

Edit: thank you everyone for the replies! did what most of the comments suggested and used the Convert function. The main issue was an odd number of tracks in the OMF and some tracks not having dual mono channel. Once that was cleaned up, it worked as intended.

I've just got a job where i need to record audio and there are camera-people who will be recording video of VO actors.

The question is if we can generate house TC for the 1 camera. We work with Pro Tools. Avid Carbon interface on a mac.

We could rent a timecode generator. But i have no experience how to hook it up. Get it into my session and exporting file with embedded timecode etc. Any help would be appreciated!

I'm presenting a couple of projects I worked on at the festival and have full access to the parties. Just wondering if you can share any piece of advice regarding who to approach or how to offer my studio services along the way.

I consider myself an above average likeable person but haven't done much of PR at parties. Thx in advance :)

I’m a mix assistant on a streaming show and currently sorting around optional tracks. We usually just try to stick to the vague guidelines of whatever streamer we’re working for, but they’re either pretty ambiguous or overly strict. My personal guideline has always been “what would I be happy to have in a separate stem if I were to do the localization?” and I think that’s a pretty good starting point, but also I’ve never done a localization and have never got to talk to anyone who does, so there are probably some workflow specifics I’m missing. So if that’s you, please tell me anything you have ever wanted to tell the people preparing the M&E for you. Is there something people always do wrong that drives you crazy? What can we do to make your life easier? Thanks!

Hi all,

I was wondering if vocal booths are a good idea for (primarily) foley recording?

I've started a video game project and would like to record some foley as an addition to sound banks, but I work from home, and my setup is in an open space next to the living room and kitchen, so I'm not able to soundproof anything. Hence why I was thinking of buying some kind of a booth that easy to (dis)assemble.

Also, diy is currently not an option since i would like it to be easy to put on and off, and I would also try to get funds from a public tender for it.

i've mainly seen post about vocal recording, but none for foley. are they too small/inconvenient for foley?

Thanks!

For anybody who has solid grasp on Premiere Pro's audio engine:

I edit/master a single voiceover track (32-bit, 48kHz) within Pro Tools for export into Premiere Pro. I utilize the Waves WLM Plus Loudness Meter plug-in as a final master track plug-in to dial in the final levels at -14LUFS long-term average target and an inter-sample peak level that never expeeds -1.0dBTP.

I will bounce the track (for purposes of troubleshooting, I've tried exporting both as mono and stereo interleaved) to a 16-bit, 48Hz wav file.

I then import into Premiere Pro and the levels are perceivably louder. To confirm, I will place the same WLM Loudness meter plug-in on the Master Fader within Premiere's Audio Track Mixer and am able to confirm that the long-term average is higher, around -12LUFS.

I just can't figure out why these audio files would register at a higher loudness in Premiere. I've checked all fader levels, audio-related keyframes etc... but can't identify any reason.

Has anyone had experience doing this? Trying to find more information on specs/the process involved in the mixing process for this format. Delivery specs, program needs, anything. Client hit me up asking if we could mix the audio for their VR film premiering on Vision Pro and am unclear on what that will entail

Does anyone know why Nugen Audio loudness module AMB is not still compatibile with Apple Silicon macs? It’s also crazy that is not compatibile yet with os11 Big Sur and above. I’m still running it on Intel Mac mini with 10.14 Mojave and cannot use it on my M2 mac studio….

Has anybody been having problems with the Soundly app lately? First it was impossible to highlight audio by dragging cursor from left to right, they fixed that. But now the audio handles, which I've set to 10sec, don't work. Very hard to work like that.

I recently moved to Belgium for my studies and will be living here for a while. I am an audio engineer and would love to visit some nice studios around Europe(Except UK and Ireland). I am from outside Europe and I have never seen some nice studios with big consoles like SSL or Neve in person. I am wondering if there are any studios that offers studio tours. I am always intimidated by those setups, even though I have worked with some nice live consoles like Avid S6L and A&H Dlive, Digicos, and small studio consoles like Audient 8024. So I am not very confident in booking a session or, if they will let me use the gears. I want to use this opportunity in Europe to explore and learn as much. I googled but couldn't find many that offers studio tours. Thank you in advance!

I know this might sound like a very basic question. If I were to work in Nuendo or Cubase 12 on the audio post-production of a film edited in DaVinci, what files (besides WAVs) should I request from the editor? Are there any specific settings to consider? Thank you in advance.

Hey everyone,

I've been working within the dubbing industry for quite some time now and honestly, I've been bored and haven't seen any growth. After a certain point you just plateau unless you get into more administrative roles.

As everyone should know, my main skill is working with dialogue / sync, dealing with short deadlines, and Pro Tools, of course.

I have several works on Netflix, Amazon Prime, Max, etc.

I've never worked in formats above 5.1. I need to familiarize myself with Dolby Atmos.

Theoretically, I assume I should be able to take on a dialogue editing role easily or mix assistant at minimum, and re-recording engineer in the best case scenario (although, it seems pretty out of reach since I will be new to the industry). Re-recording engineer would be my end goal.

I was based out of the US, but now I am in the EU.

So far I've called and sent my resume to many production companies here in the EU, but am still wanting to work with companies in the US as well.

Questions:

• Who should I be connecting with in order to break into my first gig within Audio Post?
• Should I be getting any certifications?
• What formats should I familiarize myself with?
• Assuming my tools are outdated, which industry standard plugins should I familiarize myself with?
• Is remote work an option within Audio Post?
• Regarding job positions, what is the hierarchy in Audio Post?
• If you were in my shoes what steps/path would you take to break into Audio Post?

Any input/output is much appreciated.

Cheers.

Hello. I’m currently on my final year at University and I’m looking for a film or animation (preferably sci-fi) to implement audio post-production. Any suggestion on where to look. Or any artist who could help?

Hi all,

i work as a sound editor for feature films and TV series since 5 years now. I do dialogue, foley, sfx and ambiance editings.

Until now I worked with the workspace to find sounds in my libraries but I would like to improve my workflow, and am leaning towards using a sound library manager.

Sound Miner is very expensive and from a newbie point of view, some alternatives seems to offer pretty much the same functionalities.

Sound Particles Explorer and Basehead are looking particularly eligible in my case.

I need to be able to work with multichannel sounds, spot to Pro Tools, pitch, have convenient shortcuts and spotting options, be UCS compatible, have a powerful search engine...

Do you guys have any experience with several softs and could give some feedback?

Sound Miner preferences seems to be very extended, whereas Explorer's ones looks quite skinny. What kind of useful options could I miss by using any other software ?

Thanks a lot !

People who have experience working freelance and interfacing with clients: I'm wondering what factors come into play when you are deciding whether or not to take on a project. I'm just starting out doing freelance, and want to develop a solid thought-process when deciding if a project is worth committing to. I'm wondering if there is anything that's typical specifically within the post-audio world.

Typically I get information such as the expected deadline, important dates to keep in mind, the scope of work, compensation estimate, a most recent cut, and seeing the general attitude of how the client interacts with me. I'm not sure if there are any industry norms, or if some things I may be asking are inappropriate. Just wondering what other people's experiences are.

I'm not sure if there's a standard guideline, but what is the expected daily output in minutes that a sound supervisor typically expects their team to complete by the end of the day?

P.S. Also, I'm not sure if you could provide an idea of how many tracks are typically expected per scene.

That you! 🥳

I'm doing an edit and mix for a low budget short. They shot a scene in a salon, which was open at the time apparently? There are electric clippers going in the background of most of the dialogue tracks, no room tone, the mic is at different distances, etc. I've eq'd some of it out, so it's not so noticeable in some parts, but the sound in the background still jumps around in frequency and volume with each cut. I've also added a consistent clipper sound in the background to try to cover, as well as some voices, but its not doing much. I was brought in after the edit, so too late for any input. Any ideas here?

I have to send a music track to the mixer of the commercial.

Are there things I should just do to make their job easier?

I have asked, but no response yet so just wanted to check here.

Morning all,

Wondering if anyone has come across delivering a mix that has audio description to Channel 4 before, and if so they know about the control track. If so any advice is welcomed.

So been reading through the Channel 4 Audio Specification, and it says the below.

The audio channel layout is as follows:
Channel 1 - Stereo L
Channel 2 - Stereo R
Channel 3 - Audio Description must be -23 LUFS (±0.5 LU) and -1 dBTP max, with the first and last 6 frames of the commercial mute.
Channel 4 - Control Track should be running continuously throughout the whole spot at -29.9dBTP
Note: Both Audio Description and Control Track are mandatory for Audio Description files.

So I guess the info i'm after is, 1. what signal is it on the control track, & is this signal throughout the entierity or is it only when the AD is active. 2. If it is as simple as generating a signal does it have to be at a specific frequency (or does it not matter).

TIA

Hi folks.

I'm trying to work on an after-shock feeling, after a large explosion, where the main character withdraws sonically from reality.

Apart from low passing all other BG elements, I'm experimenting with bouncing out a pure sine wave and pitching then adding a little reverb. I'm getting close but I feel something's missing, Does anybody have any other ideas? practices or techniques?