Do you remember the previous film collaboration projects? In Terms 2/3 you are on set learning about Production Sound, while in Term 4 you work as editor in the Post-production side. Guess what? In Term 5 you mainly work as a Re-Recording Mixer, but that’s not all. As you probably remember, people from Term 4 are going to edit the short movie they worked during Term 3. So now that you are in Term 5, you will be assigned to one of those movies.
You and your film collaboration teammate will decide how to split the job. You are going not only to mix the movie in 5.1, but also perform and record Foley, record ADR and take care of the Music Edit.
The first step is the Foley Recording: you will work as Foley Artist or Foley Recordist and then send your session to the editor guy in Term 4.
In the Interlock session with your clients (the people from the Film Campus) it will be better to take notes on how to approach the mix… Also a person in the team will act as Music Supervisor and the other one as Music Editor. So here it is the Music Spotting Session with the film crew. Well, more notes…
In the following week it is time for ADR Recording. Set your session, grab the microphones, record, give it to the editors and take the experience to deal with directors, producers and actors, once again. As soon as all the edits are done and the Locked Picture is in your hands, you are finally down for the mix!
Each team has got one day for mixing and one day for fixes. In your Mix Day you are there, driving the spaceship, with the film crew and the sound editors on your shoulders… It is not easy, everybody’s eyes are on you, but it’s a great learning experience!
One person will be mixing DX & MX (dialogues and music) and the other one EFX (Sfx/Spfx, BGs, Foley).
At the end of the day, before to wrap out, there is still time for the last playback with the film crew for taking notes before your Fixes Day. When the mix is done you are responsible for a looong deliveries list. Among other, you need to delivery the mix on 5.1, limited and unlimited LtRt mixes, all the mix sessions, ADR and Foley recording sessions, ADR sheets, all the stems and truncated stems, the monitoring set-up, the surround mix recorded in the tape.
Finally the last week of the term, before sending the movie to the client, there is a technical playback in the theatre just for the Sound people.
Electronic Musician, Composer, Live Electronic Performer and Sound Designer freelance. Carlo Ascrizzi was admitted at the Sound Design for Visual Media program at VFS in Canada, from which is publishing the story of his experience for learning and living the Sound.