Issue link: http://digital.copcomm.com/i/1259912
16 S P R I N G 2 0 2 0 C A S Q U A R T E R L Y Recent events have forced everyone into the "product-based" workflow, and it has been up to us to accommodate the "process" minded clients in the best way possible. A lot of video chatting, sending designed/premixed clips back and forth, and an overall uptick in communication have been vital in making sure that everyone is comfortable and involved in the audio post process. Recently, we're having great success with live, real-time reviews with clients using Source Elements' Source-Live software. We have found our clients to be very satisfied with the workflow and product that our (forced) remote sessions have delivered. One final note: While studio setup (proper monitoring/ calibration) is vital to the success of any remote mixing, the absolute most important equipment that perpetually requires updating is your ears. Listen, listen, listen to mixes you have done on larger stages in your home/remote studio—as well as Blu-rays of all film genres. Pre-COVID-19, my standard workflow involved all prep and premixing in my studio, taking it to a large stage (Stage 1 at Juniper Post, Harbor Picture Co., WBNY, etc.) to audition or final. Then immediately returning to listen in my studio while EQ, level, and other mix decisions were fresh in my mind. Every mix is an education for the ears and will help you build confidence in being able to produce a final product remotely." Michael Keeley CAS MPSE: Michael Keeley CAS MPSE is another mixer who invested in a private studio and has been remotely mixing for a while. Michael is a freelance mixer but has constructed an extremely high-end space with Dolby Atmos capabilities. Below he describes his remote workflow at Sound Striker Post that I find very familiar to my own experience. "About five years ago, I built a Dolby Atmos home studio, where for the last couple years, I have been doing remote projects. I work with the editors and Foley remotely and they send me their individual PT sessions, where I assemble and do the pre- dubs before taking it to a larger dub stage for the final review. For projects that needed to have reviews done remotely, I would export a QuickTime video with the mix for the clients to review. Lately, I have had the clients use Google Docs. That has been very useful since everyone can edit it, and the EP or show runner can instantly approve or deny a note from others. This has streamlined the process and helped to avoid back-and-forth notes. After addressing notes, I would then QC and deliver the final mix stems. The challenges with this workflow have been making sure the clients are listening back on full-range speakers or a decent pair of headphones (I love and recommend the Blue Mo-Fi headphones) and not laptop speakers or enhanced bass headphones, etc. The various listening devices, room acoustics, and bandwidth available to clients have possibly been the most significant technical hurdles of remotely approvals. When remote approving from more extensive facilities, I have often been able to ensure correct acoustics for my clients because they would have a listening space built in their production office or lot. But, with clients wanting to approve on the go, communication about how certain types of devices may color their listening experience has been a massive hurdle. There is software available that can model speakers and use IR's of your dub stage space, which could be useful. I have personally had great results on broadcast/streaming projects when clients' own Smart TV's and are able to stream the QuickTime audio and video to their home system to better approximate the end-viewer experience. But, the very best way to make and give notes is on the dub stage, where your soundtrack will never sound better and worse all at the time, as this space is designed to reproduce and reveal everything." Keeley does point out that there are some advantages to mixing from home, such as "having a more flexible schedule, not having to commute, and spending more time creatively on certain projects when needed." I like wearing bunny slippers. Sound Striker Post