In the “Mixing Volume” you’ll learn EVERY aspect of what’s required to make a Hollywood-level immersive mix in stereo, surround sound or 3D audio. You’ll learn where to put every kind of sound in the 3D audio space, how to layer dialog with sound effects and music, how to export to legally required levels, and even how to create surround sound in any pair of headphones and deliver on Youtube! This 26 hour volume is the crown jewel of the Cinema Sound education and CANNOT be overlooked. There is no other education like it anywhere in the world.

In this chapter Mark walks us through the beginnings of a great mix including organization, process, intro to plugins and how you should mix every time.

Chapter ContentsRun Time
Introduciton 00:00:07
The “I Know Thats” 00:00:46
Terms 00:01:45
Spatial Audio Designer Introduciton 00:09:12
Compressers & Limiters Introduction 00:15:31
De-Esser Introduction 00:16:18
Signal & Bus Introduction 00:16:58
Stems Introduction 00:18:10
The Best Way to Become a Better Mixer 00:18:59
Editors and Mixing 00:21:29
Review “Man Of Steel” 00:23:36
The Process of Mixing 00:26:01
Session Organization 00:28:24
Busses and Organization in Adobe Audition 00:51:43
Routing Spatial Audio Designer 01:00:59
Myths Around Fader Use 01:10:03
Intro to Plugins 01:11:12
Sound Placement Theory in a Mix 01:12:27
Mix in Stereo or Surround? 01:16:40
Wrap Up 01:21:06

This chapter is an exposé on all things reverb: plugins, routing, use, mono, stereo and surround reverbs and adding special effects to reverb.

Chapter ContentsRun Time
Introduction 00:00:08
Review “X-Men” 00:01:09
Reverb Plugins Introduced 00:04:33
Waves TrueVerb 00:05:28
Mono Reverbs 00:08:20
Stereo Reverbs – Algorithmic 00:11:28
Stereo Reverbs – Convolution 00:16:44
Adaptiverb 00:27:49
Surround Reverbs 00:33:33
Issues with Surround Reverbs 00:38:16
Reverb Routing 00:42:43
Chorus on Reverb 00:46:19
Flanger on Reverb 00:47:53
EQ on Reverb 00:48:30
Pitch Shifting Reverb 00:49:18
Multiple FX on Reverb 00:50:00
Wrap Up 00:53:34

This chapter goes through commonly (and uncommonly) used delay effects in a mix specifically as they relate to re-recording mixing.

Chapter ContentsRun Time
Introduction 00:00:07
Review: “The Matrix” 00:00:44
Straight Delays 00:05:20
Chorus 00:23:08
Flanger 00:31:06
Phaser 00:31:26
Ensemble 00:36:45
Pitch Shift 00:41:00
Vocoder 00:48:57
Wrap Up 00:54:58

In this chapter, Mark takes us through example after example of mashing up plugins into unholy combinations that bring heavenly results to your mix.

Chapter ContentsRun Time
Introduction 00:00:07
Review: “Gravity” 00:53:00
Stereo Enhancement 00:03:11
Exciter 00:13:06
Distortion 00:20:41
Lo-End Enhancement 00:33:14
Octaver 00:44:31
Integration of Plugins Example 1 00:48:26
Integration of Plugins Example 2 00:53:48
Integration of Plugins Example 3 00:57:10
Integration of Plugins Example 4 01:00:00
Integration of Plugins Example 5 01:06:12
Wrap Up 01:15:11

The most critical chapter deals with dynamic effects which make the difference between a lousy mix and a snappy one, including compression, expansion, de-essing, limiting, maximizing and show-downs with various manufacturers plugins.

Chapter ContentsRun Time
Introduction 00:00:07
Review: “Lord of the Rings: Palinor Fields” 00:01:23
Compression Practical Use 00:03:05
Compression with Waves Plugins 00:19:48
Multiband Compression 00:23:15
Multiband Compression with iZotope Ozone 7 00:32:01
Adobe Audition “Leveler” 00:36:11
Waves Vocal Rider 00:38:30
Compressing Music 00:39:39
Compressor Comparison 00:42:32
Multiband Compressor Comparison 00:45:23
Compression on SFX 00:50:05
SFX Compression Comparison 00:53:02
Compression on the Full Mix 00:55:55
Multiband Compression on the Full Mix 00:59:33
De-Essing 01:03:25
Waves De-Esser 01:06:28
Expansion 01:09:18
Waves Expander 01:13:27
Limiting 01:17:24
Waves Ultramaximizer L1 01:21:45
iZotope Ozone 7 Maximizer 01:23:23
Limiter Comparison 01:24:41
Wrap Up 01:28:41

In this chapter Mark introduces us to Distance To Camera Mixing (DTC), the basics of ADR mixing, where to pan Dialog and how to be compliant with Dialog Norm.

Chapter ContentsRun Time
Introduction 00:00:08
Review: “Tomorrowland” 00:00:41
Dialog Mix Procedure 00:02:03
Panning Dialog 00:03:37
Dialog Basic Grade Introduction 00:05:48
Distance To Camera Mixing (DTC) 00:25:00
Track Based DTC Mixing 00:36:24
Clip Based DTC Mixing 00:39:34
ADR Mixing Introduction (Macbeth) 00:46:11
Dialog Normal/Compliance 00:51:00

In this chapter we Mix the Dialog channels for the ENG and Donuts Example Videos and learn a slew of things including dealing with Final Cleaning, Dialog Ambience, Final Volume and more.

Chapter ContentsRun Time
Introduction 00:00:08
ENG Dialog Mixing 00:01:13
Donuts Dialog Mixing
– Special Effects Dialog 00:20:38
– Ending Dialog Mixing & Clean 00:26:00
– Stereo/In Car Dialog Mixing 00:37:57
– Dealing with Unwanted Effects (Door Slams) 00:43:29
– Multi-mic Stereo Mixing Issues 00:47:06
– Adding Reverb to DX for Ambience 00:57:56
– Managing Final Volume 01:03:46

In this chapter Mark takes us through the Dialog Mix for the Action Example Video including more DTC Mixing, general balancing, limiting for dialog, how to create effects for dialog and more.

Chapter ContentsRun Time
Introduction 00:00:08
Action Scene Dialog Mixing
– General Balancing and Intro 00:01:02
– Distance To Camera Mixing 00:03:00
– Futzing/Dialog Effects 00:04:55
– Dealing with ADR Mixing 00:10:41
– Limiting for Set Sound Effects 00:12:12
– General Balancing 00:14:32
– Distance To Camera Mixing 00:17:22
– Multiband Compression on Dialog 00:26:47
– General Balancing & DTC Mixing 00:28:07
– Limiting for Set Sound Effects 00:31:39
– General Balancing & DTC Mixing 00:32:07
– Limiting for Dialog 00:35:44
– General Balancing & DTC Mixing 00:37:18
– Adobe De-Hum Plugin in Dialog 00:42:17
– General Balancing 00:42:53
– Double Check the Work 00:45:21
Wrap Up 00:48:30

In this chapter Mark takes us through the complex Macbeth Example Video Dialog Mix including more DTC mixing, dealing with noises, managing de-reverb plugins, and general balancing and automation.

Chapter ContentsRun Time
Introduction 00:00:08
Macbeth Dialog Mixing
“- General Balancing ” 00:00:24
– De-Essing Dialog with Multi-Band Compression 00:08:03
– General Balancing & Automation 00:10:16
– Distance to Camera Mixing 00:11:57
– Removing reverb with Unveil 00:36:38
– General Balancing & Automation 00:38:30
– Unveil & RX Together to De-Reverb DX 00:40:41
– General Balancing & Automation 00:45:04
– Unveil & RX Together to De-Reverb DX 00:47:28
– General Distance To Camera Mixing 00:50:37
– Dealing with Problem Frequencies 00:54:19
– General Distance To Camera Mixing 00:59:24
– Dealing with Beard Noise 01:06:25
– General Balancing & Automation 01:11:00

In this final chapter on Dialog Mixing, Mark takes us through the difficult beach Mix and deals with De-Essers, ADR, DTC Mixing and more.

Chapter ContentsRun Time
Introduction 00:00:08
Beach Dialog Mixing
– General Balancing & Distance to Camera Mixing 00:00:54
– Audition De-Esser 00:22:46
– General Balancing & Distance to Camera Mixing 00:24:18
– Adding Mono Reverb to Ext. Dialog 00:30:07
– Double Check the Work 00:33:23
– ADR Mixing 00:36:55
– Distance To Camera Mixing 00:37:55
Wrap Up 00:54:33

In this first chapter on mixing Ambiences, we go through the ENG and Action mixies and learn about panning and automation, EQ, and layering ambiences in the mix

Chapter ContentsRun Time
Introduction 00:00:08
Review: “Tron: Legacy” 00:00:47
Ambiences Introduction 00:05:13
ENG Ambiences 00:08:27
Action Scene Ambiences 00:22:39
– Panning & Automating Ambiences 00:28:10
– Ambience Mixing and EQ 00:36:04
– Layering 00:43:34

In this final Ambience mixing chapter, Mark takes us through the Donuts, Macbeth & Beach Mixes where we learn about Car Ambiences, Panning, Dealing with Room tone and more.

Chapter ContentsRun Time
Introduction 00:00:08
Donut Scene Ambiences
– Stereo Ambiences with Stereo Mics 00:00:54
– Dealing with Car Ambiences 00:01:30
– Automating Ambiences (door closes) 00:12:12
– General Ambience Mixing 00:20:00
Macbeth Scene Ambiences
– General Ambience Mixing 00:30:42
– Ambience Panning with Camera 00:38:34
Beach Scene Ambiences
– General Ambience Mixing/Auditioning 00:46:21
– Adding the Surf/Roomtone & Effects 00:52:19
– Fine Tuning the Room Tone 00:56:45
– Ambience Panning with Camera 01:00:12
– Double Check the Work 01:02:42
Wrap Up 01:05:14

In this singular chapter on sound effects mixing, Mark shows us the intricacies of layer SFX over Dialog and Ambiences in the ENG, Action and Donuts scenes.

Chapter ContentsRun Time
Introduction 00:00:08
Review: “Hero” 00:00:26
The Rules of Sound Effects 00:03:04
ENG Sound Effects Mix 00:05:20
Action Scene Sound Effects Mix 00:12:17
– Gun Cocks 00:13:08
– Whoosh/FX 00:15:01
– Masking Set Sound with SFX 00:15:32
– Synth Sound Effects Mixing 00:17:16
– Barrel FX 00:18:52
– Punches 00:21:24
– Kicks 00:28:39
– Firearms/Guns 00:30:27
– Punches 00:32:48
– Firearms/Guns 00:34:23
Donuts Scene Sound Effects Mix
– Basic Balancing 00:41:37
– SideChain Notch EQ 00:50:38
– Basic Balancing 00:55:55
– Layering and Adding Power 01:03:29
– SFX Redux at End 01:08:28
– Reorganizing on the Fly 01:18:17
– Double Check the Work 01:21:33
– Car By Sound Effects 01:24:36
Wrap Up 01:32:50

In this first chapter of Foley Mixing, we learn about mixing Clothing, Footsteps, Walk-Aways, and general rules of mixing from the Macbeth Example Video.

Chapter ContentsRun Time
Introduction 00:00:08
Introduction to Foley 00:00:35
Foley Mixing: Macbeth
– General Mixing and Balancing 00:02:55
– Panning Foley 00:06:23
– Distance To Camera Mixing 00:09:49
– Dealing with Earrings 00:11:52
– On Set Sound Vs. Foley 00:15:44
– Clothing 00:18:10
– Balancing DX with Foley 00:19:32
– Dealing with hits, clothing, slaps 00:21:24
– General Mixing and Balancing 00:26:30
– Footsteps 00:34:57
– Sitting in Seats 00:36:15
– General Mixing and Balancing 00:40:49
– Footstep Walk-Aways 00:45:13
– Double Check the Work 00:47:08
– Last Minute Dialog Ambience & Routing 00:48:19
– Best Place for Foley 00:51:54
– Clothing Vs. Footsteps. Who Wins? 00:54:03
– Layering Set Sound with Foley (clothing) 00:55:56
Wrap Up 01:01:27

In this chapter we mix the foley for the Action Example Video and have more exmples of mixing noisy foley, clothing, automation, footsteps, hits, body falls and more.

Chapter ContentsRun Time
Introduction 00:00:08
Action Scene Foley Mix
– Introduction and First Pass 00:00:43
– The Fall Down/Body Hit 00:07:11
– Footsteps 00:09:06
– Clothing 00:12:56
– Fixing Noisy Foley 00:14:03
– Clothing 00:14:58
– Body Falls and Ancillary Foley 00:17:52
– Transient Shaper for Foley (iZotope) 00:21:59
– Ancillary Foley Mixing 00:24:36
– Using Waves Lo-Air for Foley 00:25:27
– Hand Hits 00:28:09
– MORE Footsteps 00:30:35
– Dealing with Gun Foley and Repurposing 00:30:55
– Gun Foley Walk Through 00:32:41
– Whole Mix Complete! Now What? 00:37:30
– Double Check the Work & Tweeze 00:38:42
– Action Sequence Double Check & Tweeze 00:51:28
– More Gun Foley 00:53:10
– Breath & Foley 00:53:54
– Last Looks At Clothing Foley 00:54:52
– Last Looks At Footsteps 00:55:27
Wrap Up 00:56:08

In this final Foley Mixing chapter, Mark takes us through the mixes for ENG, Beach and Donut Example Videos where we learn about skin foley, room tone vs. foley issues and complete scene replacement with foley.

Chapter ContentsRun Time
Introduction 00:00:08
ENG Foley Mix 00:00:34
– Foley Imaging with Reverb 00:08:13
– Double Check the Work 00:10:17
– Foley Vs. Ambiences 00:13:23
Beach Scene Foley Mix
– Introduction, EQs and Footsteps 00:16:28
– Clothing/Nylon Jacket 00:26:02
– Glasses and Ancillary Foley 00:28:07
– Cloth and Skin 00:30:48
– Double Check the Work 00:33:38
– Room Tone/Ambiences Vs. Foley 00:36:50
Donut Scene Foley Mix
– Foley with SFX 00:40:42
– Full Replacement with Foley & Mix 00:43:15
Wrap Up 00:55:31

In this first chapter on music mixing, we learn the best way to mix music and the process for doing so in theory and in practice in the Macbeth Example Video.

Chapter ContentsRun Time
Introduction 00:00:08
Review: “The Matrix” 00:00:41
Before Mixing the Music… 00:05:08
Stem Organization 00:06:12
Initial Track Levels 00:12:58
Music Bus Mastering 00:14:40
Surround Panning 00:17:59
Macbeth Music Mix 00:31:49
– Mixing Source (on set) Music 00:39:23
– Mixing Stems 00:41:37
– Music Vs. Foley. Who Wins? 00:42:53
– General Music Mixing With Stems 00:45:00
– Notch EQing Stems 00:50:40
– Double Check the Work 00:57:56
Wrap Up 01:04:37

In this final video on music mixing, Mark takes us through the ENG, Donuts, Beach and Action mixes and gives solutions for dealing with both stems and baked-in instruments in stereo deliveries.

Chapter ContentsRun Time
Introduction 00:00:08
Donut Scene Music Mix 00:01:05
ENG Music Mix 00:12:04
Beach Music Mix (No Stems) 00:15:27
– Dealing with Baked-In Instruments 00:26:47
Action Music Mix Listen Down (Stems) 00:27:55
– Begin the Mix 00:32:16
– Double Check the Work 00:43:51
Wrap Up 00:45:19

In this chapter, Mark shows us the critical nature of integrating and Tweezing the final tracks into a cohesive and powerful whole by explaining how to choose which tracks to emphasize at a given time in the Macbeth and Beach Example Videos.

Chapter ContentsRun Time
Introduction 00:00:08
Review: “Inception” 00:00:40
Immersion, Emotion, Story. Which to Choose 00:03:08
VCAs, Bussing and Routing 00:05:08
Rules for Mixing 00:06:05
ENG Integrate & Tweeze 00:07:39
Macbeth Integrate & Tweeze 00:16:31
– Editing the Notes 00:22:36
Beach Integrate & Tweeze 00:38:14
– Hiding Junk with Ambiences 00:43:21
– The Listen Down & Take Notes 00:49:33
– Editing the Notes 00:52:22
Wrap Up 00:56:04

In this final chapter on practical examples of mixing, we learn about dealing with black cuts and tails, creating active motion in static music and more in the Action and Donuts Example Video Mixes.

Chapter ContentsRun Time
Introduction 00:00:06
Action Integrate & Tweeze 00:00:25
– Comparing Immersion, Story, Emotion 00:01:57
– The Listen Down & Take Notes 00:28:23
– Editing the Notes 00:32:04
Donuts Integrate & Tweeze 00:41:04
– The Listen Down & Take Notes 00:41:56
– Editing the Notes 00:45:34
– Active Motion from Source Music with Flangers 00:47:42
– Editing the Notes 00:50:27
– Adding Tails to Black Cuts 00:57:21
Wrap Up 01:02:23

In this chapter Mark goes over the brutal reality of conforming audio mixes to additional editorial cuts, and how to integrate new elements to the mix last minute.

Chapter ContentsRun Time
Introduction 00:00:07
Conforming and Adding Last-Minute: Donuts
– Adding Additional SFX and Tweezing 00:01:53
– Adding Additional Dialog and Futz 00:06:30
Conforming and Adding Last-Minute: Beach
– Adding Additional SFX and Tweezing 00:10:16
Conforming, Editing and Keeping Calm 00:19:28
Wrap Up 00:27:54

In this chapter Mark shows us what we need to know in order to get compliant exports and audio deliverables as well as how to master great sounding mixes using the Macbeth, and Action Example Videos

Chapter ContentsRun Time
Introduction 00:00:07
Review: “I, Robot” 00:00:42
Mastering the Mix/Output Plugins 00:04:46
The Mandatory Plugins 00:07:20
Routing 5.1 Deliverables in Adobe Audition 00:11:07
Mastering Plugins: Macbeth Theatrical Mix 00:16:27
Mastering Plugins: Macbeth DVD/BRD Mix 00:29:11
Mastering Plugins: Action DVD/BRD Mix 00:41:11
Legal Levelling & Audition Loudness Radar 00:51:18
Wrap Up 00:55:14

In this chapter, we learn how to route busses for 5.1 export, how to organize and check your files, and Mark puts to rest the age-old argument about real-time vs. offline bouncing.

Chapter ContentsRun Time
Introduction 00:00:07
File Organization 00:00:38
File Types 00:06:50
Realtime Vs. Offline Bounce 00:08:06
Export Protocols in Adobe Audition 00:13:10
Export Routing in 5.1 00:21:34
Downmixing to Stereo 00:25:43
Routing for Simultaneous 5.1 and Stereo Burns 00:28:45
The Mandatory Deliverables 00:33:35
Checking Your Files 00:34:18
The 5.1 Cheat From Stereo Stems 00:35:06
Wrap Up 00:39:42

This 9 minute clip is a blast through all the important elements of mixing in a blipvert montage fashion.

In this final and controversial mixing chapter, Mark goes over the critical aspects of creating a mix for the internet in the loudness war generation, and prooves that louder makes people “like” your production better.

Chapter ContentsRun Time
Introduction 00:00:07
Review: “Star Wars: The Force Awakens” 00:01:48
On Loudness 00:02:45
Creating an Internet Mix – with the Action Scene 00:16:19
Creating an Internet Mix – with the Donuts Scene 00:43:33
Wrap Up 00:57:07
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