Video summary

Audio Post 207 pt 4: Pro Tools Mixing - Final Mix

Main summary

Key takeaways

Technology

Summary

Purpose of the stream/video

  • Finishing the final mix (dub) for a short film project in Pro Tools, following prior stages:
    1. Dialogue editing
    2. SFX editing
    3. Music/background editing
    4. Foley
    5. Track-by-track mixing
    6. Final mix (the focus of this session)

Hardware / network workflow note

  • The mixer adds a network switch because they may be transitioning computers.
  • This highlights the importance of Ethernet bandwidth/connection reliability for consistent studio workflow.

Collaboration and “final mix” process (director notes)

  • The final mix is described as the stage where the director reviews and requests changes, such as:
    • Adjust music level
    • Adjust sound effects
    • Replace specific sounds
    • Request alternate SFX
  • The session emphasizes the communication/service aspect of mixing:
    • Balance technical authority with deference to the director’s judgment, since the film belongs to the director.
  • They also discuss how final mix revisions can create “endless tweaking” pressure, especially on indie / low-budget projects.

Pro Tools session structure / routing approach (5.1 vs stereo)

  • The session is organized using:
    • Folder tracks for dialogue/music/effects stems
    • Separate stem/bus routing
    • Routing folders for production effects, music, and sound effects production
  • Monitoring approach:
    • The speaker monitors 5.1
    • Some audience monitors are stereo
    • They note that YouTube 5.1 playback can be tricky
  • Routing note:
    • Sound effects routing can intersect with dialogue/final routing choices.
    • They acknowledge there are multiple valid ways to “skin the cat.”

Final-pass technique: VCA rides (last ~10–15%)

  • The last stage focuses on small VCA rides rather than major rebalance moves.
  • Music VCA
    • Already used after clip review
    • Then refined further with additional VCA adjustments for the final polish
  • Metaphor:
    • The final pass is like sanding/polishing with fine grit to get the mix “over the top.”

Why they avoid mixing directly on routing folders with limiters

  • Warning:
    • If routing folders have limiters, raising them can exceed limiter headroom and cause clipping.
  • They estimate roughly ~2 dB of headroom on the track and stress how careless gain changes can introduce distortion.

Mix “spec” targeting using stems/folders (global trim shortcut)

  • If playback doesn’t meet the loudness/spec target (example: mix at -23 dB but target is -24 dB), they can:
    • Remix individual segments, or
    • Globally reduce stem(s) by a small amount (example: 7/10 of a dB per stem) to land closer to target with less rework.
  • They explicitly prefer manual control over relying on:
    • loudness correction
    • automatic loudness tools
  • Instead, they favor post-dub adjustments if needed.

Role and setup of VCAs (tutorial-style)

  • VCA = Voltage Controlled Amplifier
  • Function:
    • Controls the level of a group of tracks (volume)
    • Panning may require additional group/panning global settings
  • High-level setup approach:
    1. Create a VCA master
    2. Group relevant tracks (e.g., dialogue group using Command-G)
    3. Assign tracks to the VCA so one fader rides multiple tracks

Specific mixing tactics demonstrated

Timing polish with cuts/moves

  • Fix transient timing issues by adjusting around impacts:
    • Leave “frame or two of space” around hits
    • Move a flam slightly and insert a correction

Music “V-dip” at impact moments

  • Briefly dip the entire music stem so impacts feel more noticeable.
  • Then tune how subtle the dip is to avoid removing immersion.

Re-check layered elements after changes

  • Verify:
    • dialogue intelligibility
    • foley/footsteps
    • backgrounds
    • ADR-like elements (including identifying “fake ADR” that’s too strong and dialing it back)

Mix philosophy: prioritize dialogue clarity/intelligibility

  • Core belief:
    • The biggest usability issue is when viewers can’t understand dialogue and may need subtitles or volume riding.
  • They criticize the tendency to “throw in everything” and rely on the mixer to solve intelligibility later.
  • Priority order (their approach):
    1. Dialogue clarity
    2. Everything else, unless the story requires otherwise

Handling dynamics (cinema vs streaming/TV loudness)

  • They generally mix for the most common release scenario.
  • Notes:
    • Theatrical mixes can be more dynamic
    • Streaming (e.g., Netflix) must meet platform specs
  • Example guidance mentioned:
    • dialogue target such as -27 (example)
    • keep other elements controlled
  • Key complaint trend:
    • People complain more about being too loud or becoming mumbly/unintelligible than about not being loud enough.

Equipment and workflow recommendations (from Q&A)

  • Mixer/controller:
    • Pro Tools mixing often uses a fader controller
    • They use a Presonus FaderPort 16 as a more affordable alternative
  • Control preference:
    • They prefer mouse control for detailed plugin parameters
    • Some MIDI/HUI-style controllers are cheaper but less granular/precise
  • Studio setup emphasis:
    • Treat the room and calibrate monitoring
    • Use tools like Room EQ Wizard
    • Calibrate a measurement mic
    • Fix room response issues (nulls, brightness/dullness) before trusting monitors

Audience participation / review workflow (practical submission guide)

  • Viewers can request feedback by submitting:
    • a YouTube link, or
    • a Dropbox link for the audio files
  • They encourage using the project’s provided material (noted as “family heirloom”).
  • For audio submission:
    • Prefer a 5.1 wave file
    • Mention where TP (time reference/leader point) should be placed
  • Stream workflow:
    • Comment with links during the stream to centralize collection (avoid complicated forms)

Extra tutorial content in Q&A

  • Upmixing stereo music to surround:
    • Suggest tools like Newen (or similar) and set downmix options
  • Pro Tools as standard:
    • Pro Tools is treated as the industry requirement for professional work
    • GarageBand is acceptable for solo/non-professional contexts
  • Pricing / getting gigs:
    • Advice includes building a stable client base, filtering bad clients, and pricing competitively
    • They discuss typical hourly ranges by role/region in broad terms

Main speakers / sources

  • Main speaker: The host/streamer and Pro Tools mixer
    • Solo presenter throughout, referred to directly in chat and delivering notes + Q&A.
  • Primary software/source referenced: Avid Pro Tools
    • Including VCA workflow, session routing, and stems/buses.
  • Project referenced: The short film practice project “family heirloom”
    • The host’s class practice project.

Original video