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	Production Sound Mixer - Skillset
		Approximately two weeks before the first day of principal photography, Production Sound Mixers meet with the Producer and Director to discuss their creative intentions, (is the sound naturalistic or stylised, etc.), technical requirements and budgetary issues.
		Production Sound Mixers must have a good understanding of electronics and an expert knowledge of acoustics and all sound recording, playback and editing equipment (analogue and digital).
		Sound is one of the best served areas for film and television training in the UK with provision ranging from specialised short courses, to qualifications at HND, BA and post graduate levels.
	www.skillset.org /film/jobs/sound/article_4762_2.asp (1013 words)

	Using DAT in the Field
		The history of what we call production sound - the recording of live sound during the filming of picture - is a saga of synchronization between picture and audio.
		The production mixer also must know to what medium the original material will be transferred in order to match its dynamic range to that which can be supported downstream.
		For example, in a film production where the mixer knows that the tracks will be transferred to magnetic film, dynamic range should be kept smaller than if a digital audio workstation were to be used for post, and the end result released in a digital film sound format.
	www.sonosax.ch /APPLICATIONS/usingdatbemk.html (984 words)

	Overview: Prod Sound (Site not responding. Last check: 2007-11-01)
		Production Sound Mixing is the complex craft of recording live dialogue and sound effects on the set during principal photography of a motion picture or videotape.
		Sound must do their thing in harmony with the priorities of camera, lighting, and dramatic direction; and must often take a back seat to these other aspects.
		The Mixer is the key figure and assumes responsibility for the soundtrack and the politics of the department.
	www.equipmentemporium.com /producti.htm (3959 words)

	Production - Sound Mixer
		Production Sound Mixers are responsible for the difficult job of ensuring that dialogue recorded during filming is suitably clear.
		It is sometimes easier to re-record actors' dialogues after shooting (post-syncing), but the majority of Directors prefer to use the actual lines of dialogue recorded during filming by Production Sound Mixers, Boom Operators and Sound Assistants using multiple microphones and DAT (Digital Audio Tape) or hard disk recorders.
		After each take, Production Sound Mixers (who are situated off set, but close by), check the quality of sound recording and, if necessary, ask for another take.
	www.startintv.com /jobs/production-sound-mixer.php (916 words)

	Unsung Heroes
		While other audio pros often seek to capture and create sounds that seem larger than life, the responsibility of the production mixer is to deliver location dialog tracks — and sometimes effects — that are as clean, flat and unprocessed as possible.
		It's not fair to compare the role of the production mixer to that of the music recording engineer, who stays mainly within the confines of a cushy, air-conditioned environment filled with automated consoles, lavish racks of outboard toys, and leather couches and ergonomically designed chairs at the mix position.
		Every minute of usable location sound saves hours of expensive dialog replacement sessions in post, and here — especially in smaller independent films or television work where budgets are tight — production sound mixers really earn their hero status.
	bg.mixonline.com /ar/audio_unsung_heroes (682 words)

	Careers in the Movies (Site not responding. Last check: 2007-11-01)
		In sound, as in most other fields in the film industry, experience, tenacity, and luck are essential to landing a first job or internship.
		Production sound mixers are responsible for recording film/video production dialogue and effects on the set as the film is being shot.
		These mixers decide which mikes to use for each scene and head a crew of boommen, as well as workers who are in charge of the cable and equipment.
	www3.ccps.virginia.edu /career_prospects/briefs/P-S/SummaryMovie.shtml (5559 words)

	Interview with Jeff Wexler (Site not responding. Last check: 2007-11-01)
		Jeff Wexler is one of the top production sound mixers in Hollywood, with a long list of distinguished credits including 'Get Shorty', 'Strange Days', 'Being There' and '9 to 5'.
		If the "look" of the picture is important, so should the "sound" be considered, and much of what a picture will sound like is really established well before the camera rolls.
		I'm not that interested in a recommendation coming from the production manager because their concerns are usually that you be quiet, you don't make waves, you work for very little money and finish everything on time.
	www.editorsguild.com /newsletter/wexler.html (1210 words)

	Epinions.com - Best Sound--Which Will Win the Oscar? (Site not responding. Last check: 2007-11-01)
		I've credited the production sound mixers of each of these films, but there are dozens of other sound editors, foley artists, mixers, and recordists who are sharing the nomination with each of these gentlemen.
		The sound was tweaked to such a degree that it of course wasn't noticeable as "screeching pig", but the hope is that the audience is unnerved on some subconscious level, adding to the suspense in the scene.
		Battle sounds are woven nicely through the film, played under dialogue scenes to allow the actors to be heard without distractingly noticeable shifts in the volume as perspectives jump about.
	www.epinions.com /content_1155965060 (1194 words)

	Slingshot ! Film School ! Slingshot
		Sound Timecode -- Make sure that all production sound is recorded with Non-Drop Frame (NDF) timecode on the DAT or Nagra 1/4" tapes.
		Recording production sound -- 1/4" Nagra tape vs. DAT tape: Most telecine operators will recommend that you use 1/4" Nagra tape for your principle sound tapes, and use DAT for your backup tapes.
		After development, the film and the sound rolls are sent to the telecine transfer facility for the film-to-tape transfer.
	www.trakkertech.com /Film_School.html (1464 words)

	sound prep (Site not responding. Last check: 2007-11-01)
		Mixer is sometimes expected to run video as well as record sound, so attention is divided.
		Sound from aimed overhead mic is higher quality and more natural from boom records than from lavaliers.
		Sound is as important and complex as picture.
	www.24fps.com /article/Alpha/56/xt/sound%20prep (414 words)

	ProductionHUB : Directory : Michael Boyle Production Sound
		As a member of the local production community for over twenty years, I have feature film, commercial and broadcast recording experience.
		A current resume that highlights production sound and audio engineering is available upon request.
		Crew > Sound Mixers / Recordists in Maryland
	www.productionhub.com /directory/description.asp?item=25250 (155 words)

	Colorado Sound Mixers, boom operators, audio techs, ENG, EFP, Denver, Rocky Mountains, location sound, sound recordist, ...
		Audio Mixer: can be a portable or studio device that modulates audio, with inputs and outputs switch able between mic and line level.
		Sound mixers also refer to persons whom mix sound, on location or in the studio for film, video and multimedia production.
		Audio Tech/Audio Technician: a person whom mixes sound, records audio, and performs audio support for producers, clients, cameramen, camera operators, directors of photography etc. Audio techs are also called sound persons, sound man, sound woman, sound guys, sound gals, boom operators, and techs.
	www.misterphoton.com /sound (930 words)

	ADR Discussion
		A really good production sound mixers should generally be able to get al least 90% of the production sound on a feature film clean enough when no ADR is required.
		Sometimes lines are re-written, or the actor may have had a cold and sounded stuffed-up on the day they shot the scene, etc. The most difficult thing about integrating ADR into most films is that it is unusual for entire scenes to be ADRd.
		The poor dialog re-recording mixer is often asked by the Director to stick one or two words of ADR into the middle of a line of dialog which is otherwise "production." This is probably the single most technically difficult
	www.filmsound.org /QA/ADR-Discussion.htm (775 words)

	Production Sound Mixers Interviewed-Mix interviews top location sound mixers
		They are the production sound mixers: location recordists charged with the responsibility of capturing crisp dialog and evocative ambiences; the pure performances.
		And this is one of the things that separates the production sound department from almost all of the other departments on a movie set the day of shooting.
		Many wonderful and talented post sound supers are very different in their styles, some are surgical in what they bring to the mix, preferring the editing process to be where elemental choices are made, and others want to bring every resource into the mix and work subtractively.
	mixonline.com /recording/applications/audio_location_recordingreal_time (3913 words)

	MovieMaker Magazine \| Issue #50 \| Making Waves: Sound Technology in the Field (Site not responding. Last check: 2007-11-01)
		Sound recording technology for film has remained surprisingly constant over the years.
		Before the arrive of DAT (Digital Audio Tape) recorders in the early 1990s, production sound mixers relied on their trusty Nagra analog recorders for decades; many of these workhorses are still in use.
		A full day of recording will easily fit onto a single 4.7 gig per side DVD disk, simplifying the workflow and cutting time in post: the sound mixer can hand in a DVD at the end of a day, and the editor can load it directly into their non-linear editor with no transfer time.
	www.moviemaker.com /issues/50/sound2.html (1230 words)

	What makes a good sound engineer ? (Site not responding. Last check: 2007-11-01)
		It is rare that I hear of professionals in the motion picture sound endeavor recognize that it is not just excellent technical credentials that are important for a Production Sound Mixer.
		I know of several that are tops when it comes to the technology of recording sound, but they do not have "people skills".
		There are several really first rate production sound mixers that rarely get hired because they can not get along with the DP, director and other co-workers.
	www.filmsound.org /QA/engineer.htm (264 words)

	Pinewood Studios - Post Production Sound, Audio Post production, Soind Mixing
		The Sound Department within Pinewood and Shepperton hosts probably the largest integrated Post Production Sound facility in the world, enabling its talented pool of Mixers and dedicated technical support to offer the full range of audio experiences
		The Pinewood Studios Group audio post production department has assembled an award-winning team of experts who collectively and individually deliver internationally acclaimed audio post-production for film, television and commercials.
		We also have a range of Production Services to assist you whilst at the studios, from catering to over 250 'on the lot' companies.
	www.pinewoodgroup.com /gen/default_post_production.aspx (124 words)

	Technical & Equipment (Pg 2)
		Production assistant; assistant to the producer; assistant director (1st or 2nd), script breakdowns, location scouting.
		Sound production: sound mixing, music library, sound effects, 16mm transfers, voice recording.
		Concert production, choral and orchestral conduct- ing, vocal soloists, small vocal ensemble, large chorus.
	www.filmcoloradosprings.com /fctech2.htm (575 words)

	Shoot: The need to be heard - Special Report: Audio for Commercials/Fall Edition - audio mixers and production sound in ... (Site not responding. Last check: 2007-11-01)
		Melt described a good mixer as someone who "adds skillful nuances to fractions of audio, which can elevate a spot from the 'sounds okay to me' variety to 'the audience will be blown away.' Anyone can be trained to push a few buttons, but few actually have the talent to hear."
		He discusses the importance of collaboration between mixers and others who are working on a spot, and cites it as one of the reasons why "New Friend" was such a successful commercial.
		Mixer Jeff Payne talks about his new venture - Eleven, Santa Monica, an audio post house he opened two months ago with partner John Bolen, formerly a senior mixer at Arlington, Va.-based Roland House.
	www.findarticles.com /cf_dls/m0DUO/38_40/57445121/p1/article.jhtml (486 words)

	ProductionHUB : Directory : MPM Production Sound
		From run and gun ENG and documentaries to commercial production.
		MPM Production Sound is listed in the categories:
		Crew > Sound Mixers / Recordists in Illinois
	www.productionhub.com /directory/description.asp?item=128598 (126 words)

	Deva Location Recorder (Site not responding. Last check: 2007-11-01)
		This flexability will seem strange to sound mixers at first but it is something that the production mixer will easily be able to provide.
		Some production mixers will be reluctant to get on the train but there is no doubt that greater interaction with post production is in our future.
		The sound mixer will own about 10 Jaz disks (under $1000) which you rotate with post transfer and charge the production company at least $10/day rental to recoup the cost of the media.
	members.aol.com /jbainsi/Group4.html (1258 words)

	Realtime Recording
		They are the production sound mixers — location recordists charged with the responsibility of capturing crisp dialogue and evocative ambiences, the pure performances.
		Approach is another issue: Many wonderful and talented post sound supers are very different in their styles — some are surgical in what they bring to the mix, preferring the editing process to be where elemental choices are made, and others want to bring every resource into the mix and work subtractively.
		But it's also still early in its production life and, being software-based, new capabilities for it are frequently coming down the pike, in the Zaxcom tradition of intimate user inclusion for developing new stuff.
	millimeter.com /mag/video_realtime_recording/index.html (1584 words)

	The Art of Foley - Post Production Studios
		The goal of a Post Production Studio is to produce a realistic film/television soundtrack that is bigger than life yet filled with subtle nuances.
		The Foley Artist uses everyday props to recreate the sound of actions on the screen that may be missing or need embelishment.
		On a Mixing Stage, all the elements are blended together by Mixers who take many tracks of sound and marry them into the finished soundtrack.
	www.marblehead.net /foley/post.html (187 words)

	Ultrasone Headphones
		The pinna collects sound waves from the air and funnels it to the inner ear.
		Therefore, how the phones sound and feel without even being plugged in is in many ways just as important as how they sound with an audio signal.
		After returning home from a long day of recording I noticed that the volume of my TV was lower than I had had it in the past and I didn't have any ringing in my ears.
	www.trewaudio.com /ultrasone_esale.htm (914 words)

	★ D.C. DOUGLAS Acting and Voiceover ★ (Site not responding. Last check: 2007-11-01)
		Please note that production decisions should be made only after reference to the actual letter agreements.
		I wish I had delegated more of the production so that I could have spent more time on the creative side.
		As many directors believe: It is the job of the director to create the best environment to enable the actors to interpret the piece themselves.
	www.dcdouglas.com /actor-acting.htm (2817 words)

	Mixer Profile: Peter Devlin
		But because location sound mixing is even more removed from the main stream, I’m always curious about what initiated the drive of these few (the proud) in the direction of this craft.
		Peter recalls, “I knew nothing at all about sound recording, but the ad mentioned that the job would involve working around television, radio, and film production, so, of course, I was very interested.
		Everyone on the crew, including technicians, directors, and actors, are trying to do their part on the same production, of which sound is only one part.
	www.trewaudio.com /peter_devlin.htm (1902 words)

	What's New on FILM SOUND THEORY
		Freelance Sound Mixer Glen Trew brings a first person account of life as a sound man on a TV movie shoot.
		Julian Mitchell talks to the sound crew involved with the film version of mystery cartoon Scooby Doo, with a CGI dog as the lead role.
		From a post production standpoint, the prequel's 21-minute promo is quite complex when compared to the audio of the original low budget blockbuster.
	www.filmsound.org /new.htm (1216 words)

	ProSoundNews Online Daily - Surround Broadcast of 45th Grammy Awards Wins Sound Emmy (Site not responding. Last check: 2007-11-01)
		Santa Monica, CA (September 30, 2003)--On September 13, the 45th Annual Grammy Awards (February 23, 2003, on CBS) sound team won the Creative Arts Emmy Award for Outstanding Sound Mixing for a Variety or Music Series or Special.
		The 45th Annual Grammy Awards telecast was the first live show of its kind to be broadcast in high definition and discrete 5.1 surround on a major broadcast network.
		Members of the Emmy-winning team scheduled to sit on the panel include surround sound designer Ezratty and telecast music mixer Harris.
	www.prosoundnews.com /stories/2003/september/0929.5.shtml (242 words)

	ProductionHUB : Directory : Green Flash Production Sound
		Green Flash Production Sound gives clients the skills developed in more than 18 years of television and video production.
		Green Flash Production Sound specializes in location sound as well as ENG/EFP sound services.
		We can also connect you with experienced directors; producers; and camera operators that will make your production team complete.
	www.productionhub.com /directory/description.asp?item=138701 (204 words)

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