A tad of dialogue, lowered by at least -12db into left and right To check some scenes in their 5.1 studios. Isn´t there a poor man´s way to get an usable Surround mix out of it?īut I can only control in stereo but might at least ask collegues, I already prepared seperated stems, based on the stereo mix: I have the soundtrack that has mono voice, Rusty exhausts and squeaking suspensions, Probably because there was so many cars with (Funnily, one take in a crowded street could compete with "The Hollywood Collection"īut was recorded with the internal camera´s mics Some city ambiences without dialogue were recorded Stereo room ambience of the interviews was recorded with the 416 as well, Good news: Almost everything was recorded in mono,ĭialogue entirely in mono, using an MKH-416. Will not be adressed when the upmix to 5.1 is done during playback,Īnd the mix will sound strange in larger venues.īad news: The documentary has 80% talking heads. I still have to find out the level for stereo dialogue, as the TV norm is too hot for cinema.Ī ProRes 422 quicktime with discrete 24/48 tracks is neededīUT the festival warns that the center speaker "Why is this snapping sound bouncing all over the place?" I am also used to prepare some sound design besides edititing the image.įrankly, in a paid stereo gig, my premix stems enter the mixing room completlyįinished, with all desired relations/levels between dialogue, music FX etc.īut in surround, my role was the guy sitting next to you and asking I know a little bit about undesired phase shifts etc. I am an experienced editor with very little experience in surround, It was never inended to be shown in cinemas. The mix is stereo, follows TV guidelines and is done by myself. To say which one unless they do) with an no-budget documentary.Įverything was done by myself, over the course of 10 years. I was accepted to an international A-film festival (I am not allowed I am in a very delicate but extremely joyful situation:
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