Audio Post for Film Workflow Question(s)

Report · Feb 03, 2020

(Using Adobe Audition CC)

Hi. I am now nearing the end of the following workflow for an indie film:

Recorded production audio
Received the OMF/ director's cut of the film
Spent about 200 hours processing the audio (production audio gear was very limited --basically 1 mic (!!), so post prodution clean-up, Noise Reduction, transitions, finagling room tones, etc., was a bit of a beast
Also found/created and mixed in foley, music cues, sound efx, etc.
The only thing that needs to be done is temp sound track music has to be replaced with real soundtrack by the (other) composer. I am not responsible for that.

Since this is my first film, I wanted to be sure what deliverables are industry standard to provide to the director, to wrap up my portion.

Do I send stems of separate tracks? If so, what contents and how many stems are typical?

I was thinking of sending: 2-3 foley tracks, 2-4 dialogue tracks, 4-5 Music tracks, a couple of full sound mixes, but that seemed like a lot, so I wanted to check in with veterans.

And I understand correct (regional) LUFS mastering is part of my job as well.

Just wondering if I am covering everything. The director is also new to this process actually.

I am finding bits and pieces of sound-for-film info online, but nothing cohesive with all the necessary info I'm looking for. Appreciate anyone that can help. Thanks!

Jacob

Report · Feb 03, 2020

This is, obviously, a can of worms, and TBH I haven't done one of these for a while. But many things don't change. For instance, one point about what you said is that if you send stems rather than a final mix and they use those, you won't be able to set the LUFS level - sort-of obvious really. The director should be able to specify exactly what's required, and personally I wouldn't send stems unless they were specifically asked for. My inderstanding is that film tends to be a little more lenient on levels than radio or talking books, etc but you should be able to get some basic guidance from whoever is distributing this as to absolutel levels and any unique requirements they have.

The best way to reduce the chances of getting any complaints is to make sure that you've done your mix in an 'approved' environment at standard levels. If it sounds okay having done this, then you have a much better leg to stand on if the director has issues with any of it. It is not exactly unknown for directors to listen to their cut with all the sound, and then start wanting to change things. Ideally get a director's picture cut signed off (in writing) before doing anything to it!

There's some good advice here: Mixing sound for film - audio post-production overview

Report · Feb 03, 2020

Hey Steve. So you're saying sending the full sound mix, rather than stems, is what you have typically done? Do you send alt mixes as well? Just curious.

Thanks much, always.

Jacob