r/AudioPost

Hi all, this is my first post on this thread. I work as a First Assistant Sound Editor in Toronto, part of the DGC, been doing it for a little over 4 years now.

One of the banes of my existence is assembling an Original Sync Audio session, which is used to spot on-screen cheats (so the Dialogue Editor can match the Cheat to the mouth movement) or used to grab audio that may have been omitted by the Picture Editor (PFX, Breaths, etc) in their cut.

I of course use EdiLoad and I run either a Picture EDL (with Sound Rolls in the "Rolls" column), OR, I use a Picture AAF, both give virtually the same results. However, because these are technically pulling Timecode Metadata (Source In/Out codes) from the Camera, there's always some subframe sync inconsistencies, I think because Cameras record in Frames and Sound is recorded in Samples.

I have, however, worked on maybe a maximum of three shows ever, where the Video EDL/AAF Assembled audio which was EXACTLY in sync with the Guide Track / AAF. Everyone I've ever spoken to (APEs and ASEs alike) have no idea how to achieve it. I worked with one 1APE who had coded his own automation script to rebuild his timeline in AVID with Dailies Audio, which he would then give me an EDL export of specifically for OG Sync Assemblies, but this obviously an outlier scenario. I wouldn't expect every 1APE I work with to do this (though kind of a legend for taking the time to custom-build a script to solely make my life easier tbh)!

Anyways, thanks in advance for any pointers. People always shrug off Original Sync Assemblies "who cares if they're a bit out", but personally I find them pretty life-saving in a lot of recurring cases.

Doing a redesign for my first demo reel. Went through scenes I like from different things and tried to find a good clip without much dialogue.

The one I picked is 1:30, there’s 5 seconds where an older lady says 3 or 4 words. I am a 27 year old man and can’t imagine trying to impersonate an old woman would sound anything but silly.

The rest of the clip has so much action which did give me opportunity to do some cool stuff so I’d rather not just abandon it entirely. I also found it kinda hard to track down good scenes with 0 words in general.

Would it be best to just leave the line out since I’m trying to highlight design and not voiceover?

Hi everyone! I'm currently practicing cinematic dialogue mixing in REAPER for a medieval/epic portfolio piece.

I imagined a scene with a king delivering a speech in a massive stone hall and wanted to get opinions on my signal chain and spatialization choices. Here is what I did:

Source Chain (Voice Track): Applied a ReaEQ with a high-pass filter at 120 Hz to clear out studio proximity/mud.

Spatialization (DearVR PRO): Placed the dry voice at a distance of 6 meters for initial positioning.

Reverb Send (-15 dB): Sent the dialogue to an auxiliary track running Altiverb 7 using the "Castle de Haar Main Hall - 11.6m s-s" preset to simulate the massive scale of the hall.

Reverb EQ: Added another high-pass filter inside the reverb chain set to 160 Hz to prevent the long stone reflections from getting muddy.

Does this workflow and spacing make sense for a realistic cinematic large-hall speech, or would you adjust anything in the chain?

Where I work we have a handful of audio engineers that each have a different idea about what stems should be, how they should be used, and how to create them.

It is my opinion that the stems should equal the mix. In order her words, if I bring the stems into a session and play them all together it should sound exactly like the full mix, and measure exactly the same on the loudness meter. The way I am doing this, prevents me from doing any master bus processing. I limit each of the sub mixes for each stem, then combine them to a record track which I then measure with the loudness meter. This also allows me to record the mix and all the stems at the same time.

Other engineers prefer to mute everything, but one stem and bounce out the mix several times. this allows them to do master processing, but the downfall is that the stems do not equal the mix.

Another engineer will bypass all of the mastering, and just bounce out each of the stems from the sub mix only, assuming that it will come back later to be mixed and mastered if something changes.

So my question to you all is: what is the industry standard? How do you all handle stems? Do you assume any changes will come back to be remixed? What are your thoughts?

Getting a new external drive to run pro tools through, and wondering if I should really be spending the extra money on a good SSD.

I feel like the answer is yes, but wanted to check here first.

I use an M4 Pro MacBook

What happened to the sound here? Aside from the fact that the effects in many scenes are abnormally wrong (my opinion ofc), why is it so f****** loud? Literally, the film reaches 130dB... why is this so?

Hi folks, I've recently found myself having to look for new full time employment, and have been wondering about finding work at an Audio Post House.

I already have experience with technical support in a studio setting (troubleshooting DAWs, consoles & analog gear) as well as some experience with my own work as a freelance sound designer

I know some folks that got full time positions working for audio branding here in NYC, but don't know how one starts to look for this kind of position... do you all have any advice on where / how to look?

I’m running an M4 pro MacBook with pro tools and two monitors, and trying to figure out the best docking station for my needs.

I basically need:

1 x thunderbolt to my interface
1 x thunderbolt to one monitor
1 x thunderbolt (or DisplayPort) to second monitor
1 x thunderbolt from my external hard drive

I guess my main question is whether the thunderbolt is crucial for the hard drive, or I can get by with just usb c? The jump in price for a 3rd or 4th downstream thunderbolt port is a lot…

Thanks a lot

I have a basic workflow, but it doesn't suit every project. Is there an easy way to create standard folders every time using a template? I want to know how to organise the Folders and Sound libraies.

I need to stream a documentary mix with pictures to a client from Pro Tools, so we can stop and start at any point to give notes on a mix. Is anyone doing this sort of thing and can recommend a process?

I've done this during COVID via zoom and maybe that's still a good approach. But maybe there's a more suitable option now.

Obviously need to be able to communicate with client as well as sending pic + audio. I can route my mic through pro tools, and assume it'd be fine for them to unmute their mic to give feedback or 'raise a hand'