• Use of folly to emulate close ups

• Philosophy of sound being seperate to image

• Ability for sound to control the rhythm of a scene

• Use of routing folders instead of bus or aux tracks

• PIMS, Order of operations

• Opening AIFF within a track

• Reserve red when colour coding to use it for problems

• Grouping clips to move them, (control+command+g)

• Keeping a reference track of original edit audio

Best to record it through playlist, allowing multiple takes to be recorded and organised with out need to make and route multiple track

Foley editor also makes submix before given to next editor

Setup > Session can set session start so return button takes you there instead of at 00:00:00

Can select tracks and automatically put them into a prerouted routing folder

Date things with the year at the start?

Remember to adjust grid lines for frames

Be conscious of frame rate given in AAF relative to Protools ptx

Can bounce as MOV for people other then editors to have a look

Never move given material ono AAF off of given timecode

- Problems provided -

Mix music in and edit music to try to establish comedic tone

Some dialogue problems with noise that still needed treating

Not good room tone, dingy flat roomtone had birds which didn't fit the setting

• Used reverb sends for the first time

• Automated sends to send singing dx and also the song itself onto reverb to add some variety to the sound when song comes in

• Experimented with more electric guitar kind of fx such as fuzz and overdrive for song

• Started song in mono and then moved into stereo for maximum impact

Used iZotope spectral de noise for dialogue polishing which worked well

Used previous field recordings I'd recorded in various locations to fill in for provided roomtones and ambiences, particularly a bothy ambience I recorded for interiour flat and city sounds which I muffled with EQ for flat close ambiences which made it sound like there was a city happening outside

Often on this film I found it was the easiest and most effective to leave untreated location sound which sounded accurate and nice, this included

Flat close reverb - None was added, all the natural reverb of locastion which I think sounded really lovely

FX - All fx other then phone ringing were caught on boom and then treated very slightly with eq and occasionally reverb to make pop slightly more, nothing went over dx and it was captured well so I didn't find the need to do any folley for this picture

Aims

• To operate desk without having to look at computer

• To move stereo mix into 5.1

• Meeting with director and producer later that day - reach a final mix that everyone is happy with

• Play with the ambience levels more for dramatic effect as shown in tutorial

• To become familiar with dubbing suite protocol, how to turn on and turn off equipment, how to perform basic functions on desk

While working, I found the desk was not as complicated to operate as I'd feared. I was able to turn everything on alright.

I began live mixing my automation for all my dx tracks, then my ambiences then my fx so that they were all even then I closed up all my routing folders and mixed those stems into my first mix.

I attempted to move my stereo mix into 5.1 by changing the output my mix was sent to into 5.1 and then to pan out my ambiences so they filled up the whole room a bit more. I was unable to do this however and it wouldn't be for another few weeks until I'd manage to work on something in 5.1

The meeting with the director and producer went well - director wanted a change to the music section when some vocals were in because it sounded a bit muddy which I agreed with - I just cut out the on set singing and let the line from the original song come through which worked.

Some minor fx changes were made as requested such as the timing of the phone etc.

I found I was able to move around my project comfortably without having to constantly look back at the computer

Some of the silent scenes included

Sequence of a film projector being loaded and played

Black screen with flashing images of apples and brain scan imagery

I wanted to use as much sounds that I'd recorded and designed myself for this project to test myself. This included many ambiences I'd recorded (sounds of Ocean, rain, bells etc.) - contact microphone recordings I'd gotten of electronics, mechanical movements, trains - A lot of bell recordings which I'd recorded then manipulated often by cutting off the initial strike of the bell to just have the decau which I'd duplicate and reverse the second one and splice together to create a drone like effect which I could layer with pitch shifter to create some sort of 'chords'

HOW TO UPMIX FROM STEREO SESSION

Change all routing folders to 5.1 by duplicating and changing the empty duplicating folders into 5.1

Move all of tracks into new routing folders

Adjust all buses into 5.1

All mono sounds just therefor come from centre speaker

Move all ambiences into 5.1 space through panner - and or 5.1 reverbs

Add 5.1 reverb auxes and a LFE aux

MAIN POINTS TO CONSIDER

When mixing in stereo just use 5.1 outputs and folders types and use front left and right speakers to reduce amount of work when upmixing

Use LFE sparingly - just for big FX moments or ambiences

If mono sounds are in ambiences or other non DX or Folley sounds then just duplicate track and pan each one to far sidde to make it stereo so it doesn't muddy up the centre speaker

I mostly used my own equipment - A stereo set of Basic Ucho's by Lom which are very sensetive omni directional microphones - My recorder was the Tascam dr mrk iii which I've had some problems with - it's not able to handle my omni microphones because their signal is too strong so I've had to get in line attenuaters

I also booked out the university gear (shotgun mic and mixpre) to record good mono FX and also get 32 bit float ambience recordings with my omnis in the forest which made a nice change in quality from my usual recorder

Me and my pal Sam then also got some really good stream sounds which I've used extensively in other films I've done

Some of my favourite locations and recordings I've done over the last few months have been

• Rain recordings in Duror

• Wave sounds in Newhaven harbour

• Recording the hums on electric generators around the old town

• Street ambiences recorded on holiday in Lisbon in the summer

• Picture this (sound design & dx editing)

• Cut off (Sound design)

• Handouts (location sound and DX editing)

ba3work > Ezra Course > Finished projects for Zoe (highlighted with green)

POINTS TO CONSIDER

Dialogue should have been mixed slightly better - it's slightly difficult to hear at some certain points

Should have had more sound to image for some bits which instead just had ambience and drones over

Should have dealt with bad location sound problems better - shouldn't have just tried to stop a whole interview being put in - perhaps slightly audacious upon further reflection

MAIN TAKEAWAY

Should have spent much more time mixing trying to get correct volume levels for dx

Should have followed intuition about filling in some empty space a bit more - Perhaps didn't because it was easier to just hold ambiences over it