~ Re-recording Mixer / Dubbing Mixer

What is the difference between a Re-recording Mixer and a Dubbing Mixer?

Technically there's no difference. One term tends to be more used in North America (Re-recording Mixer) and the other one in Europe (Dubbing Mixer).

Is the gear relevant for mixing in post?

Not exactly. In terms of audio processing, the gear itself is usually high quality, even for the digital tools included with a DAW. It’s more about knowing how to use the gear properly. A great piece of gear can sound bad in the hands of an amateur, while a less ideal piece of gear can sound good in the hands of a professional.

In mixing, experience and skill are far more important than the gear itself, although good, reliable equipment and a properly treated acoustic space are essential for accurate listening.

Is Analog gear better than Digital gear?

Not really, although sound exists in the physical domain and we do need analog gear to capture and reproduce it. The advantage of digital sound lies in fidelity, precision and data storage. In those areas analog can't compete with digital. However, there are some disadvantages to the digital domain, such as "aliasing," which can create unwanted distortions when using non-linear processes. Analog does not suffer from this issue. Today, most top mixers work primarily in-the-box (ITB), using digital gear.

Is there any secret for getting professional quality audio?

There are no secrets, but a lot of experience and skill are involved. Obviously, the quality of the recordings will also determine the quality of the final product. How do you identify each problem to solve and know when they’re resolved? How do you achieve the sound you want? How do you handle different types of noise? What’s missing in this scene?

Many of these questions are answered through experience. While some solutions may seem straightforward in theory, in practice, they can take a lot of time to implement.

The "secret" is to learn the craft or hire someone with the skills and experience to do so.

Do films need to be mastering like music?

No, there's no mastering in film as there is in music. Instead, there’s a quality control process to verify that levels and other parameters meet the requirements of the intended medium. However, there is no mastering process to shape the overall sound like there is in music.

Is on set recording sound enough?

No, recording sound (location sound) is only part of the process. If you want to achieve a more immersive and professional sound mix, location sound alone is not enough. Building an environmental sonic world is primarily done during audio post-production, although ideas and some recordings can be gathered during or even before the production phase.

In post, the mixer focuses on creating an impactful experience that enhances the story using backgrounds, foley, edited dialogue, sound effects and music. Mixing all of these elements to present the story both technically and creatively is the mixer's job and it requires a great deal of experience and skill.

Is ADR a solution or a curse?

ADR should be seen as the last solution available. This doesn’t mean it can’t be used, because when done properly, it can blend seamlessly with location sound.

However, the challenges with ADR include replicating the original emotion, matching speech continuity and avoiding acoustic differences.

Additionally, the process requires more time and budget for both the actors and the audio team.

Can a picture editor be a good sound mixer?

It’s possible, but very uncommon and challenging. Can a director be a good actor? Can a good actor also be a director?

Such individuals do exist, but they are rare because it’s extremely difficult to master both domains. The same applies to a sound recordist.

There’s a big difference between being a sound recordist and an audio post mixer.

What's the advantage of hiring a Re-recording Mixer to mix the sound instead of picture editor?

A re-recording mixer brings a deep understanding of how narrative and visual elements impact sound and the other way around.

A picture editor might also understand that, but their expertise in sound will not be nearly as extensive as that of a re-recording mixer. Also, a director can communicate their vision to the mixer, who will then translate that into specific sounds that enhance the story.

Picture editors, whose primary focus is visual storytelling, would likely struggle to achieve the same depth and precision in sound, as it falls outside their area of expertise.

Why is it hard to get clean sounding dialogue?

First, the dialogue you hear in major productions has been recorded and treated by experienced and skilled professionals.
However, even with the best talent available, sound quality always depends on the quality of the recording, which is heavily influenced by location noise.

Secondly, even if the recording and location sound are excellent, improperly treating the audio during post-production can still compromise its quality.