The Dialogue Premix


Remember, no matter what anyone says, you probably will only get one chance, and when it leaves your hands, that's how it will be … forever.

David Barber, MPSE, rerecording mixer, supervising sound editor The Forger

I intended this chapter to focus on the chasm separating film sound and television sound, between mixing on a console and mixing in a workstation. I approached this research with the expected prejudices. “Films are mixed on giant consoles in big rooms, they consume a huge amount of time and money, and they naturally sound better than TV. Projects worth talking about are finished on real consoles, while modest (i.e., unimportant) projects are done in the box.” All of this seems reasonable until you ...

Get Dialogue Editing for Motion Pictures, 2nd Edition now with O’Reilly online learning.

O’Reilly members experience live online training, plus books, videos, and digital content from 200+ publishers.