Comments on: Erik Aadahl Special: Editing for the Mix

By: Aleks Bundalo

Aleks Bundalo — Thu, 13 Mar 2014 17:54:22 +0000

Thank you for sharing Eric!
Randy that is a great motivation for all of us who work in the box and as Eric said at the end “it’s just a tool, it’s what you make of it” :)

Great stuff!

By: Editando para a Mix | Som de Filmes

Editando para a Mix | Som de Filmes — Fri, 05 Jul 2013 01:04:34 +0000

[…] blog Designing Sound, o artigo Editing for the Mix é uma pequena aula de organização e sistema de edição de som e […]

By: Rules and Anarchy | Wright on Film

Rules and Anarchy | Wright on Film — Thu, 23 Aug 2012 20:07:04 +0000

[…] certain that more than five sound groups are operating at one time. In a special editorial for Designing Sound, Transformers sound designer Erik Aadahl explained his pre-mixing strategy for that film’s […]

By: zameer

zameer — Thu, 05 Jul 2012 16:24:33 +0000

thanks for useful data
and tweiks

By: | Som de filmes

| Som de filmes — Mon, 09 Apr 2012 21:01:33 +0000

[…] blog ao lado, o artigo Editing for the Mix é uma pequena aula de organização e sistema de edição de som e mixagem. This entry was […]

By: » Rules and Anarchy Wright On Film

» Rules and Anarchy Wright On Film — Thu, 28 Oct 2010 14:48:25 +0000

By: Peter Lago

Peter Lago — Tue, 27 Jul 2010 18:20:15 +0000

Thank you for this tremendous insight into your approach.

By: Erik Aadahl

Erik Aadahl — Sun, 18 Apr 2010 21:11:41 +0000

Thanks for the great comment, Randy! That’s a very smart and slick way to approach it. Virtual predubs are the way to go!

Cheers,
Erik

By: Miguel

Miguel — Mon, 05 Apr 2010 15:42:53 +0000

Great comment, Randy! Many thanks for sharing those ideas.

By: Randy Thom

Randy Thom — Sat, 03 Apr 2010 16:53:31 +0000

Great stuff, Erik!

Almost all of my projects in recent years have been structured as “in the box” premixes, meaning that all or virtually all of the editing and premixing has been done in ProTools, keeping it all virtual. We record predubs only as a delivery requirement, but don’t use the recorded predubs in the final mix. In the final each individual sound is funneled through virtual six channel premixes coming out of ProTools that then go through a DFC. Typically there are two ProTools systems carrying effects, backgrounds, and foley. Often all the effects are on one system, and the backgrounds and foley are on the other system. My personal preference is to not use a ProTools “mixing console” control surface, but I know I’m in the minority. I like to make adjustments within ProTools with a mouse rather than knobs and faders. I do use the knobs and faders on the DFC, but most of the work is being done in ProTools.

We can get away with this approach, given the limited number of sounds ProTools can play at one time, because we are very disciplined about making editorial decisions before the final mix. In other words, we come to the final with fewer sounds than would be typical on a more traditional mix, where it’s assumed lots of alts will be needed. One reason this approach works is that on all these projects we spend a lot of time presenting sounds to the director before the final. That way we are pretty sure we know what’s going to make everybody happy before the final starts.

Best,
Randy