Issue link: https://digital.copcomm.com/i/1512183
54 M PS E . O R G mix stage when needed. Everyone has their favorite direction, but one should always meet other challenges head-on, being "T-shaped" individuals. I, myself, was a specialist with a narrow focus for a long time, preferring only FX design. This often led to excessive detail in my work which distracted me from the story rather than helping it. Yes, I did consider the dialogue, music, and other elements, but still, it was a selective affection for one aspect of a bigger picture. Now, after having broader experience handling all post-production stages practically, not theoretically, I approach tasks differently. I see the real importance of the element I'm working on in the context of the entire story rather than based on its complexity or my personal interest. Understanding this concept is especially important during the final mix. As soon as some particular editor's experience allows, we try to bring him in as an assistant during the mix. This helps him to understand why, in sound design, you cannot think in isolated elements. You can't just combine well-made design with dialogue and music and expect a mix. From the very start of editing, one must consider their interplay in each scene, both from a creative (genre, mood) and technical (spectrum, dynamics) perspective. On larger projects, we also began noticing specific issues with the standard approach to our Foley recording. Quite a lot of Foley is recorded "just in case," for coverage if required. The notion is that it's much easier to record everything rather than find oneself later missing a sound during the mix. If you think about how much work remains afterward—laying down tracks, premixing, realizing during the mix Pavel working in Atmosfera premixing studio MP01. Moscow. Atmosfera © Pavel Stasenko, Andrey Kireev, at Mosfilm Re-recording Stage 7, mixing Upon the Magic Roads (2021). Atmosfera © always be valuable. If someone wants to deal only with mixing, they will inevitably find themselves out of work at some point, even if the studio's capacity allows handling 5-6 projects simultaneously, or they'd have to take on external projects. Therefore, there's nothing complicated about taking a Foley premix, doing FX editing, attending a masterclass or sorting out the sound library and returning to the