Issue link: https://digital.copcomm.com/i/1512678
C A S Q U A R T E R L Y I W I N T E R 2 0 2 4 75 Another point is that in the music world (I came from the rock/pop world), you need to have a lot of color, distortion, and saturation to create your "sound signature." This is different when you are dealing with dialogue for films. However, it doesn't mean you can't have your signature mixing films. I know who mixed when I hear one of those incredible mixes cooked by Joe DeAngelis or Paul Massey, for instance. In this streaming era, everything is called a podcast, even when it's not. There's a huge difference between a talk show and a narrative show. Everybody knows how a talk show works. But immersive podcasts, for those who have never heard of them, are something I like to call "Radio Drama 2.0"—on steroids! From the day when a professional used to create horse gallops with a coconut, until now, when the sound design is so massive and everything is mixed in Dolby Atmos, calling it a "podcast," to me, minimizes the power of the show. When you are mixing a film, you have a great friend who helps you tell the story called "the picture." This, of I began mixing immersive podcasts right before the pandemic, with most of my work being done from home. Since binaural is tailor-made for headphone use, I referenced all kinds of headphones to ensure greater confidence in the translation of the binaural mix. I monitored on AirPods Pro, Pro MAX, Sennheiser HD600, and Sony 7506 headphones. These days, I still follow this procedure and am confident of how things sound in this semi-sphere called Dolby Atmos. I keep doing my first pass and dialogue pre-dubs at home, and all upcoming rounds of notes are handled in person on a dub stage with the producers, directors, and writers. There are some interesting points when mixing a feature film compared to mixing scripted-fiction immersive podcasts; these differences remind me of when I transitioned from mixing music. I remember hearing the term "clean dialogue" for the first time, which is a term I never had heard before working in the film industry (among many others). It's different, it's exciting! Dolby Atmos Renderer