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Old 01-29-2014, 03:58 AM   #16
Lucky Hardwood
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Originally Posted by IndiePaul View Post
Lots of great advice from AudioPostExpert and Alcove Audio. Thanks for taking the time to share your knowledge. Damn useful thread this.
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Old 01-29-2014, 04:58 PM   #17
Scotty Fox
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Thanks AudioPost, I'll be sure to ask those questions as I start contacting individuals.

I'll try posting on Mandy.com and Gearslutz and see what's out there.

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Depending on the time available between acceptance and screening, it might well be worth just creating a stereo mix and not a 5.1 mix until you know if you've been accepted. But again, check that the festival actually requires a DCP (multi-channel mix) for screening.
I'll most likely go with that then. A stereo mix along with my final picture for DVD submissions. And if I get in I'll look at the rest later.

Thanks Alcove for the informative breakdown. I appreciate you taking the time to type that out.
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Old 01-30-2014, 10:45 AM   #18
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I'll most likely go with that then. A stereo mix along with my final picture for DVD submissions. And if I get in I'll look at the rest later.
Check with the festivals you are targeting first though!! What happens if you get accepted and they want a DCP within 2 weeks? There won't time to find someone, get even a half decent mix done and have the DCP authored in just two weeks, not to mention that you would have made a stereo mix then started all over again from scratch with a 5.1mix, when you could have just paid for a 5.1 mix and had a stereo version made at the same time for next to nothing.

In filmmaking it is ALWAYS worth getting the info first and making a decision before it's too late and the decision makes you! Just winging it and seeing what happens seems to be a very common approach with lo/no budget filmmakers but what happens 99 times out of 100 is that it ends up costing you more for a poorer quality film.

I'm not saying you should definitely have a 5.1 mix made now, I'm saying you need to make an informed decision before you enter, and to make an "informed" decision you need the inform-ation from your target festival/s. On quite a few occasions I've had filmmakers desperately knocking on my door having just entered or just been accepted into a fairly major film festival only to realise they don't have the time or budget to meet the exhibition requirements. Occasionally I've been able to help them but mostly they've ended up not having their film screened or screening at a much lower tier festival. It's hard enough to fund and make a lo budget film in the first place and far harder still to make one which is good enough to get accepted into one of the better festivals but to succeed with all that only to fall at the very final hurdle is heartbreaking!!

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Old 01-30-2014, 04:24 PM   #19
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Yeah for sure audiopost.

I will make contact some festivals and see if a 5.1 mix is required, or if they accept stereo before I pay to have anything done. If I find that most festivals require the 5.1 I'll go with that, or if it's stereo then that'll be it.

After the sound mixer finishes his work, how does he typically deliver the files back to you? .wav? So I can simply go back to my NLE and drop them in and position them where I like? Or is it something more complicated than that?
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Old 01-31-2014, 02:25 PM   #20
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Originally Posted by Scotty Fox View Post
If I find that most festivals require the 5.1 I'll go with that, or if it's stereo then that'll be it.
Most small festivals will require stereo only, the bigger festivals will only accept 5.1 for exhibition. There are obviously a lot more smaller festivals than there are big ones.

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Originally Posted by Scotty Fox View Post
After the sound mixer finishes his work, how does he typically deliver the files back to you? .wav? So I can simply go back to my NLE and drop them in and position them where I like? Or is it something more complicated than that?
It would usually be wav files. The standard professional workflow would be to send the audio post person a video with an academy leader and a 2 pop (and 1 frame of white, exactly 2 seconds before your First Frame Of Action). You will get back audio wav files from the audio post people with an audio 2 pop (1 frame of 1kHz sine wave at -20dBFS) exactly two secs before your FFOA. Simply line up the audio 2 pop in the wavs with your 1 frame of white and everything should be perfectly sync'ed.

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