Issue link: https://digital.copcomm.com/i/1538091
C I N E M A A U D I O S O C I E T Y. O R G 25 Are we overusing processing and reducing perspective? Other AI tools and noise-reduction processors can help improve the signal-to-noise ratio, giving us better control, but they can't replace the manual treatment of perspective. Like a cinematographer's work, this is a core part of the filmmaker's vision and is driven by what we feel for each scene. We have emotional responses to distance, as it provides information beyond semantics and the direct meaning of the sounds. For example, perspective helps convey anticipation, anxiety, or relief in chase, action, or intimate scenes. Without it, those emotions might not land as effectively. On the other hand, a relatively new tool, a plugin called Boom- it from HAL Audio, combines reflections and EQ with body and face masking, along with distance processing, into an automatable system designed to emulate a more natural sound. It even includes microphone emulation to help match the tonal characteristics. While innovative, does this level of automation risk diminishing our need to deeply understand the principles of sound and how to manipulate it purposefully? Or even reducing the rigor in proper miking technique? In my opinion, tools like Boom-it or Auto-Align can be valuable in specific situations or for sounds with particular limitations. Still, they should not replace a solid understanding of acoustic principles, which is essential to compelling storytelling. Ultimately, it comes down to style and narrative. It really depends on the message being conveyed. Even without specific technical requirements, you typically don't want to mix with too much perspective for broadcast content because it may separate the viewer from the narrative at some point. In an isolated theatrical environment, you can have more detail because you can hear more detail and, as such, have a larger dynamic range. When it comes to communicating perspective, different mediums offer unique tools. For instance, near-field mixing might require a more subtle approach, using EQ, reverb, or delays to compensate for a narrower dynamic range to convey perspective. To provide additional insight, I asked other re-recording mixers to share their thoughts on perspective mixing. 9 Karol Urban CAS MPSE The differences between television single-camera and theatrical content mixing styles are closing. While technical logistics will always require adaptations for smaller screen content, the perceptual mixing styles, particularly in streaming productions, are becoming increasingly cinematic, not only in the complexity of elements and dynamics but also in perspective. For instance, shows like Game of Thrones, Shogun, or Loki have a distinctly theatrical feel. An example of a more traditional television-styled mix would be New Girl or Grey's Anatomy, which use perspective more sparingly when needed to carry a specific plot point. Consider a streaming show like Made for