#What does a mixer want from an editor during handoff?

8 messages · Page 1 of 1 (latest)

jagged root
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Hi! I’m an editor with a sound post-production question.

I’m currently reviewing the project to make sure everything is as easy as possible for the mixer. During I’ve left 2-3 mic/boom options for any dialogue (from on location recording).

Is there any best practice I should be doing?

Because the dialogue track order is not consistent. For example: sometimes the track order will be 1) boom 2) best track 3) alt track, and sometimes it will be 1) best track 2) alt track 3) boom.

Is it going to be a big deal for them to sort through? Everything else is done for them, all the sound design etc., this is for the re-recording mixer.

Thanks!

uncut panther
jagged root
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Hi there! It’s just a re-recording mixer, sound design is already done. All the tracks are themed and labelled. But you know when you have dialogue, there’s the boom track, the track for actor’s mic, and then sometimes an alternative mic for sound? I have those three, but the order of those changes.

So sometimes when a character is speaking the boom track will be first and sometimes it won’t be.

I’m wondering if that makes things super difficult for the re-recording mixer (and if I should go through the trouble of trying to make that consistent throughout) or if it doesn’t make a difference.

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Idk if that makes sense lol

uncut panther
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Are you using all of them? You should pick which track you want to use

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And yes it definitely would make it difficult

magic osprey
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They want all the raw audio files, the proxies of the edit so they don't have to deal with massive video files, and timecode sync with a mark in the beginning of the film

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All the tracks should be labeled from the production mixer, if not, well, they have to re-label everything