Issue link: https://digital.copcomm.com/i/1538091
shows tend to rely on lavs, camera mics, or planted mics, limiting our options for perspective. However, for most scripted content, we often aim for a natural sound perspective, while some prefer a more present, less dynamic sound. Documentaries seem to sit in between. Some genres benefit from less perspective, while some do better with more. In many half-hour comedies, for example, a tighter perspective helps the audience catch every joke and storyline. In dramas, a clearer perspective keeps the layers and "sound framing" realistic. Usually, this direction comes from the showrunners, producers, or directors, either before post or during the mix. It's crucial for re-recording mixers to ensure this approach doesn't overshadow the storytelling process. Perspective is often challenging on set when actors speak into microphones rather than projecting naturally within a scene. This often results in a weak signal-to-noise ratio and unnatural levels, not due to anyone's fault, but inherent in the line's performance. Ultimately, perspective begins on set. The performance and location shape the sound before the mic is even placed. Projection is key. If a whispered line doesn't match the visual or context, it breaks both perspective and realism. Conversely, a natural, well-projected voice usually feels correct and authentic. Comfort often comes from familiarity, and people who have lived with a film for years frequently become accustomed to its temporary sound. "Temp love" is a natural psychological response and is part of the process itself. Oftentimes the decision to reduce perspective comes from "temp love," where editors, directors, and producers get used to a work in progress, often favoring lavaliere mics for clarity. Because they've listened to it that way so many times, they become accustomed to it and could hesitate to change it later in the mix. People get used to something and become afraid to change. However, the most common situation is that it becomes more of a stylistic choice from the directors, producers, or showrunners. The perspective decision is mainly creative intent while aiming to maximize intelligibility. A factor that I initially considered as a possible contributor to reduced perspective was the need to meet loudness specifications. A smaller dynamic range reduces the contrast between quiet and loud passages, potentially requiring dialogue to be unnaturally consistent to stay within these specs. However, after reflecting on this and discussing with other mixers, I've realized it's more about other factors, including time constraints, technical limitations of the source material, aesthetics, and narrative goals. These are the conditioners of perspective mixing rather than loudness specs. Considering SFX and Foley, there's often more freedom as these elements usually get away with a lot more perspective. While notes about excessive reverb on footsteps are occasional, they are less frequent than with dialogue. That's probably because Foley and effects are new to what clients are used to hearing and are not as affected by temp love. The more blended these sounds are, the less noticeable they are to the client.