CAS Quarterly

34 FA L L 2 0 2 1 I C A S Q U A R T E R L Y DELIVERABLES: b y K a r o l U r b a n C A S M P S E A re-recording mixer is a unique blend of artist and technician. It is both your paramount responsibility to serve the narrative and achieve the client's sonic vision, as well as ensure the technical integrity of the mix and print master for the client's intended distribution path. While each distributor (theatrical, streaming, or broadcast) can have a different set of technical standards and deliverables, streaming and broadcast distributors generally tend to vary more in their requests and carry loudness requirements. But all deliverable specifications center on three aspects: technical requirements (loudness, peaks limitations, slate specifications, file types, etc.), nomenclature, and content of the required files. Additionally, all deliverables seek to satisfy the business needs of distribution, promotion, localization, and archive. Filling these requests is often accomplished with the support and assistance of mix technicians and broadcast engineers. Tom Burns, re-recording Theatrical vs. Streaming & Network technician at Sony Studios, explains, "I usually discuss specific mastering methods with the mixers after reading the deliverable spec sheet prior to us creating all the deliverables and ensure all final deliverables get delivered with the proper naming convention." The final approved dub will generally propagate the stems and sub-mixes required. Burns explains, "We usually mix all theatrical features in a theatrical stage using traditional theatrical settings monitoring 85 dB (82 dB in the surrounds for 5.1 and 7.1 formats). Once we have recorded the final stems of the project that have been signed off by the

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