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FilmMixer

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FilmMixer last won the day on November 2 2018

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About FilmMixer

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  1. Paul didn't do this by himself, thank you very much. Thanks for the kinds words.
  2. Dave.. I've always been here. You assume that the reason WOTH sells so well (and I'm not sure you have any kind of data to back that up) because of the ULF... It's a fantastic sound job all around, that's why... If you want to say that it's because of the ULF I'll have to call BS on that.... You again are ascribing things to me that simply are not true. I know Randy Thom, and have never been dismissive of him. And as I said, just because I don't agree with some of his reasonings for why he uses so much ULF in some of his designs, doesn't mean I don't have the greatest a
  3. Sound mixers aren't mail room clerks.. if you subscribe to the notion that 50% of the film experience is sound, you can understand that directors might not have the expertise to do the actual mixing, but are integral in helping develop the overall soundscape of a given track. A colleague of mine has a good analogy... our job, as mixers, is to get the ball to the 10 yard line.. the director helps us get it into the end zone... sometimes they fumble... While people like CN and others might not produce tracks you like, they are still the ones overly responsible for the overall aesthet
  4. Some more info on your research. I worked with Harry for 8 years.... he was the sound designer on many films where I served as supervising sound editor. The connection with Tarantino and some of the other films comes from Wylie Stateman, who is the supervising sound editor (and the Nine you are referring to is the Rob Marshall film not "9" for clarification..) He and Harry, as you noted, have been part of an amazing team for a long while now. The Patriot was one of the first films Harry worked on after joining Soundelux. Anne Scibelli was the main designer on Trek (another perso
  5. Tim... we've all had this conversation many times... the bolded part is the crux of the issue... we can debate over and over who we should cater for, but my first concern is theatrical distribution. Most enthusiast on here have way better ULF than us.. above 18Hz you'd hear the difference in our rooms that would justify their costs.... you're talking about 15 cycles, and I'm talking about the other 20,000. And when you say "we" I'm curious how many people, as a percentage of HT owners, have <18Hz capability in rooms designed to handle such frequencies properly you think are out
  6. A couple of points.. I don't want to start a debate, because it always becomes contentious.. but this is food for thought. 1. Very few microphones are good below 20Hz.. and most of what the pick up under 30Hz doesn't really sound all that great in my experience, and won't create fantastic ULF on it's own. 2. Almost all ULF you hear in films, if not all, was created after the fact electronically... 3. The film industry has standards in place that don't account for ULF.. again, let's not start a debate on what we should, or could, do. The fact is that we can guarantee a high deg
  7. Dave.. spell check stinks sometimes. If you ever have a question about who the FX mixers are on a show, please let me know before you spend time with your charts.. I'll be happy to ask around if I don't know the answer.
  8. Just for clarification.. When you guys post info on the sound designer, and or mixers, you are usually not correctly crediting the right people.. on most of these larger films, there is almost always a couple of people handling different things.. I understand trying to link different films with their crews.. but unless you know the specifics of each film and who handled what, the information is suspect at best in some of the credits you guys list on here and trying to determine individuals marks on any given film.. WOTH was mixed by Andy Nelson and Anna Behlmer.. Scott Stoltz i
  9. Let me try and clarify this. First of... dialog norm does nothing to the dynamic range of the track... Secondly, both DTS and Dolby have a dialog normalization feature in their codec. The default value in the Dolby encoder is -27 (4 db attenuation) and it defaults to -31 in DTS encoders. It isn't a measurement of the absolute level the dialog is in reference to digital zero. In most cases, the average level of the dialog serves as the basis for how loud other things around it are, and is a good barometer of the average SPL level of the track over the period of it's running
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