P3W Audio Final

Alternate language versions will be necessary. Set up a mix project to allow the music and sound effects mix stems to be mixed with any new language recordings.   Forward to Conclusion   Back to 25. Prepare Deliverables    

Prepare and output all required deliverables, including stems, M&E, etc. All deliverables can be output. These vary from project to project. This is set up when the sound design is started.   Forward to 26. Prepare Language Versions   Back to 24. Mix Alternate Versions  

Mix alternate delivery versions, e.g., 5.1, 6.0, stereo, etc. If the workflow for alternate delivery configurations was properly set up, alternate configurations can be output. If the workflow wasn’t properly set up, additional mix time will be necessary.   Forward to 25. Prepare Deliverables   Back to 23. Output Final Mix

Output final mix to industry specs and standards for final film delivery format, e.g., digital 3D, IMAX 6.0, IMAX 12.0, etc. The final soundtrack is output to the main delivery configuration. It needs to be delivered to industry technical specs, where it will be combined with the final image.   Forward to 24. Mix Alternate Versions   Back to 22. Mix in Giant Screen Theater (Optional)    

Set up mix screenings in local IMAX or digital theater to confirm mix levels. During the mixing process, it’s always a good idea to take the soundtrack to a theater that represents the final playback environment. This would be the local giant-screen or IMAX theater (digital or film). Hearing the soundtrack in this environment will let the sound designer know if the soundtrack is having the correct impact.   Forward to 23. Output Final Mix   Back to 21. Pre- and Final Mixes    

Do pre-mixes/final mix in a theater properly tuned for the main delivery configuration. The ultimate goal is for the soundtrack to play for audiences the way the sound designer and filmmaker intended. To achieve this the theater in which the soundtrack is mixed must be properly tuned and configured to the final release format. Without this there will be a discrepancy between what the filmmaker and sound designer intended and what the audience experiences. (“Tuned” refers to the acoustical and technical setup of the mix theater.) [...]

Understand all deliverable formats and set up final mix to accommodate all deliverable formats. Most films are released in multiple formats. The more formats the sound designer is aware of early on in the process, the better he/she will be able to set up the workflow to get the most out of each of those alternate formats. Reconfiguring a soundtrack for formats that weren’t anticipated can be quite complicated.   Forward to 21. Pre- and Final Mixes   Back to 19. Premix All Elements to the [...]

When starting the pre-mix process, knowing what the main delivery configuration is, and mixing to it, will ensure that the soundtrack has the greatest possible impact.   Forward to 20. Set Up Final Mix   Back to 18. Create Sound Design  

Create sound design using location sound libraries, library sound effects and new unique recordings. If location sound libraries are used as a main building block of the sound design, the audience will experience the authenticity of the locations and subject matter of the film. This will allow the film to have greater impact.   Forward to 19. Premix All Elements to the Main Deliver Configuration   Back to 17. Set Delivery Configuration    

Determine what the main delivery configuration is meant to be, e.g., 6.0, 5.1, 11.1, 12, etc. During the sound design process it is necessary to have a clear understanding of the final playback environment. The proper auditory experience cannot be created for the audience if soundtrack is not played back in the configuration for which it was designed. When designing for the giant-screen environment, take into account the immersive nature of the sound environment, as well as the technical aspects, e.g., the derived subwoofer channel, and [...]