Re-recording mixer

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A re-recording mixer in North America, also known as a dubbing mixer in Europe, is a person who is part of a post-production sound team and works specifically with voice over, dialogue, music and sound effects to create the final soundtrack for a movie / television production. They are responsible for ensuring that the sound in a record single, film or television program is technically correct, and as near to the director's or sound designer's original idea and more importantly, pass the necessarily relevant broadcast standards specific to the country before playout. In Europe, at present this would relate to EBU R128 protocol.

Re-recording mixers / dubbing mixers prepare an initial film / documentary soundtrack for audience previews by performing tasks such as cleaning up audio edits, mixing and cross-fading the sound, and adding a temporary/permanent music soundtrack that will have been prepared by the music editor. After the previews, the film / documentary is usually re-cut and the sound is mixed once more. Once the film is given its final approval by the producer and financial backers, the re-recording mixer works towards a final Stereo and or 5.1 surround sound mix.

A re-recording mixer is someone, or a team of two or three individuals who, working with the Director/Producer of a film or television show achieve the desired sonic balance between dialog, sound effects, and music. The first part of the traditional re-recording process is called the "premix." In the dialog premix the re-recording mixer does preliminary processing, including making initial loudness adjustments and reducing environmental noise that the on-set microphone picked up during the shooting of the scene. In most instances, audio restoration software may be employed.

In the previous phase of post production, sound editors and sound designers have assembled many sounds for each scene. During the "final mix" the re-recording / dubbing mixers, guided by the Director/Producer, make creative decisions from moment to moment in each scene about not only how loud each major sound element (dialog, sound effects, and music) should be relative to each other, but they also modify individual sounds when desired by adjusting their loudness and spectral content, by adding artificial reverberation, and by placing sounds in the three-dimensional space of the listening environment for a variety of venues and release formats: movie theaters, home theater systems, etc. that have stereo and multi-channel (5.1 7.1, etc.) sound systems.

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