Hey Tom, I'm a young freelance mixer working in Paris, who specializing in film/TV mixing for the past 3 years. Your videos have helped me a lot in my approach to mixing, and I've been watching them for 1 year now. My career is starting to take off and I'm beginning to mix really interesting films and documentaries that I'm proud to show to my friends and family. I'd like to thank you because it's also thanks to your videos and your advice that I've come this far. It's obvious but great video ;)
Hi Tom, another idea would be a video specifically on dialogue editing, especially track laying, checkerboarding etc. Everyone says different things and there's a little confusion about this process. Thank you for the video on RX I've got your chains!
Thank you for this peek into your session setup! What would really help me as a video editor who's trying to learn proper post audio, is some actual audio examples that demonstrate what these different realistic or subtle reverbs should sound like, and how apparent they should be, etc. For me, setting up a session is the easy part; the hard part is the ear training. I feel like it's much harder to get that guidance when self-teaching via the internet, as opposed to working in audio post houses where you can learn from audio experts directly.
That takes years of experience, just get out there and do it till it feels right. Directors and other people will help hone your ears but there is no shortcut to gaining experience.
Hi, I have to thank you immensely for the invaluable course that you have given us over the last few years. You have given me the opportunity to begin my career in this field without even attending a proper school and I have to say - everything is going well for now! (Obviously I have previous experience in audio, but I am more of a location sound mixer than I am a post guy). Anyway video request: I would really like you to cover the workflow of committing/bouncing/consolidating stems and tracks for moving a session to a system that doesn’t have the same plugins. I’m asking that because sometimes I have to mix in a studio with an older version of pro tools, that doesn’t even have the avid pro stock plugins, while my editing was done on my updated version at home. Thanks! And greetings from Italy
Thanks you Thomas, another great lesson! Noticed you set wet to 50%, why not set to 100% wet? I am so cruious about this, when you add reverb it will also increase the volume, is more than just wet signal ( 50% dry +50%wet ).
I may have missed it but did you say why you prefer mono reverbs instead of stereo? I assume the thought process is that if you need add more sense of space you’d just reach for a 5.0 verb instead of 2.0 and if you need to liven a dry recording, mono verbs are better than 2.0 for matching the natural room sound of a boom recording? When I listen to any Fincher film I love how much verb Ren Klyce and Michael Semanick add haha.
Mono verbs sound like production sound more than wide verbs. I use wide verbs when they’re needed but that’s not all the time, or at all for some films.
Yeah my take is that if you need to match adr or props to the production sound, you have to use mono as prod sound is mono. This makes a seamless joint. If just one line or one sfx has 2.0 or 5.0 verb when everything else is mono you will defenitely hear it out of place. Instead, if you are adding bigger and richer sfx that can stand out from the rest then you can consider 5.0 - but only if the type of effect really calls for it. Eg on doors sometimes you want to mix them with prod sound so you choose mono; but if a character slams a door in a bigger room and you want to enhance it, than you could use 5.0 reverb and make it stand out a bit
But if you have like one fx panned from time to time (let's say a phone ringing) how do you proceed? do you pan the mono reverb to match the position of the sound?
I’d really like to see a video about how you manage files. Where you save sessions, sound libraries, videos, archive old projects, etc.
Good idea
Hey Tom, I'm a young freelance mixer working in Paris, who specializing in film/TV mixing for the past 3 years. Your videos have helped me a lot in my approach to mixing, and I've been watching them for 1 year now. My career is starting to take off and I'm beginning to mix really interesting films and documentaries that I'm proud to show to my friends and family. I'd like to thank you because it's also thanks to your videos and your advice that I've come this far.
It's obvious but great video ;)
Glad to help
Great. Can you share more about outdoor slap, street, exterior...reverb, predelay
Knowing when to leave things alone is one of the biggest skills you can develop as a audio wizard.
D-Verb for the win!
Hi Tom, another idea would be a video specifically on dialogue editing, especially track laying, checkerboarding etc. Everyone says different things and there's a little confusion about this process. Thank you for the video on RX I've got your chains!
Revibe is really underrated. Its a criminal
Hi Thom. I am Sebastian from Argentina. I also work in sound for films, and your videos help me a lot. I appreciate these videos. Success!
Graciás hermano, el gusto es mio.
Thank you for this peek into your session setup!
What would really help me as a video editor who's trying to learn proper post audio, is some actual audio examples that demonstrate what these different realistic or subtle reverbs should sound like, and how apparent they should be, etc.
For me, setting up a session is the easy part; the hard part is the ear training. I feel like it's much harder to get that guidance when self-teaching via the internet, as opposed to working in audio post houses where you can learn from audio experts directly.
That takes years of experience, just get out there and do it till it feels right. Directors and other people will help hone your ears but there is no shortcut to gaining experience.
Interesting, I do this when i'm mixing music but i've never thought about doing this for post. Thanks for this.
No problem. I’ll try to get to your adr video too!
Hi, I have to thank you immensely for the invaluable course that you have given us over the last few years. You have given me the opportunity to begin my career in this field without even attending a proper school and I have to say - everything is going well for now! (Obviously I have previous experience in audio, but I am more of a location sound mixer than I am a post guy).
Anyway video request: I would really like you to cover the workflow of committing/bouncing/consolidating stems and tracks for moving a session to a system that doesn’t have the same plugins. I’m asking that because sometimes I have to mix in a studio with an older version of pro tools, that doesn’t even have the avid pro stock plugins, while my editing was done on my updated version at home.
Thanks! And greetings from Italy
Thank you for the comment. I can add that to my idea list.
i have just one question: why all the reverbs have 50/50 dry/wet mix?)
If you look closely that setting bypassed and they are 100pct wet
@@ThomasBoykin maybe i'm starting to lost my vision who knows) i saw 50, 55 and 60% that's why i had asked )
Protools internal Dolby Atmos video make please
Really appreciate your videos! Can you talk about an atmos template for post! Thnks for all
Hey that's me! Thanks for taking the time to share this with us 🙏
Thank you for all the videos you make. Could you make a video on the Clarity VX Pro?
I tried it and decided I have other tools that work best for me
Nice video mate..
Thanks you Thomas, another great lesson!
Noticed you set wet to 50%, why not set to 100% wet?
I am so cruious about this, when you add reverb it will also increase the volume, is more than just wet signal ( 50% dry +50%wet ).
If you look closely the mix parameter is disabled, meaning the plug-in is at 100 pct wet
@@ThomasBoykin Got it! Use Pro Tools sometimes, so I'm not that familiar UI of Avid reverb.
Great insight! Thanks again! As far as new video ideas, maybe a home studio tour?
I may have missed it but did you say why you prefer mono reverbs instead of stereo? I assume the thought process is that if you need add more sense of space you’d just reach for a 5.0 verb instead of 2.0 and if you need to liven a dry recording, mono verbs are better than 2.0 for matching the natural room sound of a boom recording? When I listen to any Fincher film I love how much verb Ren Klyce and Michael Semanick add haha.
Mono verbs sound like production sound more than wide verbs. I use wide verbs when they’re needed but that’s not all the time, or at all for some films.
Yeah my take is that if you need to match adr or props to the production sound, you have to use mono as prod sound is mono. This makes a seamless joint. If just one line or one sfx has 2.0 or 5.0 verb when everything else is mono you will defenitely hear it out of place. Instead, if you are adding bigger and richer sfx that can stand out from the rest then you can consider 5.0 - but only if the type of effect really calls for it.
Eg on doors sometimes you want to mix them with prod sound so you choose mono; but if a character slams a door in a bigger room and you want to enhance it, than you could use 5.0 reverb and make it stand out a bit
But if you have like one fx panned from time to time (let's say a phone ringing) how do you proceed? do you pan the mono reverb to match the position of the sound?
Exactly
@@ThomasBoykin Ok thats good to know, im starting my first 5.1 project soon and that was one of the unclear thing for me. Thx!
❤