CAS Quarterly

38 FA L L 2 0 2 1 I C A S Q U A R T E R L Y process, "Since the advent of the DCP, I find myself mixing in reels but delivering a long play, as well as the reels. Generally speaking, we will mix in reels, then create a long play and from the long play, we will create the deliverables by breaking the audio from the long play back into reels. That way, we know the changeovers work." Tarlecki adds, "Theatrical is usually (hopefully) at 24 fps. Nearfield is usually at 23.976 fps." Additionally, theatrical Atmos requires an MXF for final mastering to picture versus an ADM or DAMF. Considering that this list will need to be created for all required formats (Atmos, 5.1, 2.0, etc.), a print mastering day is often budgeted. Tarlecki observes, "These days, I feel broadcast/streaming recorders are more hefty than theatrical recorders as they are used as a tool to make all of the deliverables in real time. Theatrical recorders are more of a utility and will be used to create the outstanding material down the line like 7.1/5.1/2.0 print masters and stems, etc." SUMMARY As the industry continues to shift and in streaming that do not exist in theatrical. As far as nearfield mixes that are made for theatrical releases for non-streaming, there may not be a spec, just adjusted for less dynamics." However, the freedom to mix without a loudness target does not always extend to a feature's associated nearfield mix. Nearfield mixes created for streaming companies that will also receive a theatrical mix may ask for compliance to a particular loudness spec for the nearfield as they already know which specific streaming service will distribute. Finally, it is also typical for a theatrical feature to require reels for their theatrical deliverables and a long play version for the nearfield mix. Reels are approximately 15-20 minutes of content mixed in chunks that, when "seamed" together, create the entire feature. For the feature workflow, Humphrey advises that there are some significant benefits to working in reels. "A film is constantly changing. The first time a director actually gets to see his film is on the dub stage, where he has picture and sound, and he finally sees it all coming together. It is the same for the studio. They may say, 'This isn't working for me. I want to go with a different cut or a different timing here. Let's pull this up.' Now you can go work on reel two while they do fixes on reel five, and it does not stop you or add work to your process by moving on." He declares, "We typically deliver reels for the DCP and a long play for streaming or a hi-def master." Waters explains his goal on a nearfield mix is to make sure it sounds as much like the theatrical as possible. We spent so much time making the theatrical play a certain way that I take it seriously to make the nearfield mix work just as well." Tarlecki has observed that "the most common difference is that theatrical historically is delivered in reels while streaming/nearfield is usually required as a long play. Also, there are loudness specs that are required Tom Burns "...it makes the most sense to get the balance, imaging, and panning cor- rect for a theatrical setting even though the final deliverable may be straight to streaming." –Tom Burns Common expectations for a theatrical project might include: • Theatrical Full Mix Print • Theatrical Mix Minus Narration • Theatrical Music and Effects Mix • Theatrical associated stems or sub-mixes of the music, dialogue, and SFX elements. • Nearfield Full Mix Print • Nearfield Mix Minus Narration • Nearfield Music and Effects Mix • Nearfield associated stems or sub-mixes of the music, dialogue, and SFX elements.

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