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Old 09-05-2013, 10:36 AM   #16
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@ alcove and ROC. I've got a project coming up that will require a basic team for a drama. Likely a mini feature suitable for a film festival. Can you lay out a basic team for me. We will do a fair amount of field work maybe even 80% where a constant power source will be inaccessible.
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Old 09-07-2013, 01:26 PM   #17
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Roc has nailed it pretty accurately, I'm impressed! I'll just pick up on a couple of minor points though:

Originally Posted by ROC View Post
ADR Recordist: ...This job is also sometimes called ADR Mixer, but this just means that he does the same thing but the recordist has more than 1 mic and he's "mixing" the two mics (kind of like how the title Production Mixer is used).
Maybe I've just misinterpreted what you have written but as a general rule one would NEVER mix two mic's together. It's not uncommon to also have an ADR Supervisor. The logistics of ADR on big films can get pretty complex, especially as the actors are often on different continents by the time ADR recording is required. This often means a number of different studios sync'ed up via ISDN lines at different times and various ADR recordists. There is also a modern trend to try and record ADR on set at the end of the day after the actual filming. It's a bit tricky from the point of view of having the equipment on set and the Sound Designer to decide what dialogue needs ADR'ing. The advantage though is having the actors easily available, still in costume and still in character. The end result is time/money saved, a more convincing ADR performance from the actors and ADR which more closely matches the sound/acoustics of the original production sound.

Although usually recorded and edited by the ADR team/s, it's also quite common to have a sub-team which is sometimes referred to as the "Loop Group" who perform all the custom walla, group reactions, etc.

Originally Posted by ROC View Post
Re-Recording Mixers - The mixers of your film after it's edited and going to final mix. They usually spend 3 months premixing your film and another 3 or 4 weeks finalling. There is usually one for Music, one for SFX, and one for Dialogue, hence the 3 people you usually see at the mixboard... You could just have one mixer doing everything on a film and mix it in 2 weeks and you're done, but on a film like Avatar there are 3 mixers working full-time or about 8 months.
Note that in the UK, the term "Dubbing Mixer" is often more commonly used than "Re-recording Mixer".

To be honest, I've never heard of a film taking 8 months to pre-mix/mix, although I don't know the specifics of Avatar. If the pre-mixing/mixing took 8 months then the recording/editing must have taken 3 or 4 months, so that would have meant a year in total of audio post! For big blockbusters 5 months or so is usually the maximum time allocated to audio post, with a more modestly budgeted 90 min feature (millions rather than hundreds of millions) 3-4 months would be more normal. Final mixing is usually calculated at about half a reel (AB reel) per day, up to a reel per day for a low budget film. As Roc stated though, this can vary considerably depending on the genre of the film and the delivery formats required. It's not uncommon for the big films to have to create a Dolby Atmos or Auro 3D mix plus a 7.1 and a 5.1 mix. When all this is finished another 5.1 mix will usually be created for consumer format release (DVD/BluRay). Very loosely, 4-6 weeks would usually be the max for pre-mixing and 2-3 weeks for final mixing, with films budgeted in the low millions these times are very roughly halved.

Also worth noting is that the SFX department is frequently divided into a number of sub-departments. Most obviously are the SFX and Foley teams but then the remaining SFX "team" is often sub-divided further into a Hard Effects team and a Backgrounds/Ambiances team. In action films, weapons fire (guns, cannons, explosions, etc.) are often (but not always) another SFX team again. Bare in mind that the audio post department for a blockbuster could easily comprise 50 audio pros and could be as many as 70, divided into 6 or 8 separate teams. Lower budget films (in the millions) would again likely be half this number. With so many different audio post teams and personnel, organization and management of audio post is a major task, so much so that the Supervising Sound Editor may in fact end up spending all their time organising/managing/supervising rather than actually editing anything!

As Roc also mentioned, it's not uncommon on some pictures for the Sound Designer to also take the role of Supervising Sound Editor. In this case, another modern trend I've started seeing in the past couple of years or so, is for the job title "Supervising Sound Designer" to be used.

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