Discover the latest industry news and audio post production.
In this article we dive into the process of constructing a concrete pit for our freshly renovated Foley facilities.
January 16, 2024
Today on the 344 Audio blog, we’re continuing on from a previous 2 part post about building your own Foley pits. In this article we’ll be diving into the process of constructing a concrete pit for our freshly renovated Foley facilities.
Check out part 1 & 2 of our post:
https://www.344audio.com/post/article-how-to-build-a-d-i-y-foley-pit
Our previous room had some areas for improvement. It was critical for us to eliminate resonance from building materials, and maximize the limited space available by storing props in a variety of ways. We opted for cork board, and wall mounting items and shelves over free standing shelving units (filling any sizeable wall gaps with acoustic panels). These changes freed up more room for performance, more floor space for refreshed surfaces, plus the addition of our new concrete pit. On a basic level, it also helps to keep the room cleaner and free from mess.
Planning is a crucial part of this process. Some important things that informed our early decisions were previous building materials, the size of space available, what the team want/need to be easily accessible, and last but certainly not least, how much room the Foley artist needs to give their best performance.
During our research, we found an incredibly useful resource by Yuri Pridachin of Foley First (read the full article here), which features an in depth run down of his thought process whilst building a foley pit. This post influenced our decision to make the internal shape of the concrete a trapezium to avoid any unwanted resonance and standing waves that occur in a square shaped pit.
The polished & painted concrete floor that our Foley facilities previously had wasn’t fully flat and had potential to colour the sound of surfaces we built onto them. Having a section of rough concrete included in our plans meant that exposing the original floor below worked to our advantage by both removing the need to build a rough surface, and allowing us to flatten the construction area.
Using wood planks that were the desired height, we first built the external square frame, followed the by internal trapezoid. To ensure the frame didn't shift out of place during the concrete pouring and setting we added some additional small wooden pieces connecting the 2 parts of the frame. The final stage before pouring the concrete was to reinforce the frame with rebar to add an extra layer of support. We opted for a 4 x 4 foot surface area to give as much space as possible for performance without the artist or interior surface hitting the side of the pit. This also gave us the added benefit of allowing our other surfaces to be free and open, meaning there's almost no chance of hitting the side of the concrete pit when performing on those too. To give the structure a sturdy and strong border, we went with a nice thick frame.
The combination of building a concrete pit and changing our prop storage has allowed for not only more space, but also further acoustic treatment and efficiency. A good amount of space being available on such a sturdy surface has eliminated our past issues with resonance. Whilst having quick and easy access to a wide number of surfaces, props, and other important accessories speeds up our workflow, and most importantly allows our Foley team to remain focused on performing and capturing the highest quality content.
If you want to learn more about the artform of Foley and designing your own space, check out our Creative Foley Workshop with Pete Burgis. You can find more information about this course here.
The Pro Tools 2023.12 update with Dolby Atmos integration marks a significant milestone in the evolution of audio production for smaller studios.
December 13, 2023
In the ever-evolving landscape of audio production, staying at the forefront of technological advancements is crucial for professionals seeking to push creative boundaries. The latest Pro Tools 2023.12 update has raised the bar by introducing seamless Dolby Atmos integration, promising to revolutionize workflows and redefine the immersive audio experience. Let's delve into the key features and enhancements that make this update a game-changer for audio professionals.
The standout feature of the Pro Tools 2023.12 update is the deep integration of Dolby Atmos, the groundbreaking audio technology that enables a three-dimensional sound experience. Dolby Atmos goes beyond traditional channel-based audio, allowing sound to move freely around the listener in a three-dimensional space. This creates a more immersive and captivating audio environment that can be particularly powerful in the realms of music, film, and gaming.
One of the primary benefits of the Dolby Atmos integration is the streamlined workflow it offers to audio professionals. The Pro Tools 2023.12 update introduces a user-friendly interface that seamlessly incorporates Dolby Atmos mixing capabilities. This means that engineers and producers can now work within the familiar Pro Tools environment while harnessing the power of Dolby Atmos to create spatially dynamic audio content.
Dolby Atmos relies on object-based audio, a departure from traditional channel-based systems. In Pro Tools 2023.12, this translates to a more flexible and nuanced approach to audio production. Each sound element can be treated as an independent object, allowing for precise placement and movement within the three-dimensional space. This level of control empowers creators to sculpt audio landscapes with unprecedented accuracy and creativity.
The Pro Tools 2023.12 update with Dolby Atmos integration marks a significant milestone in the evolution of audio production for smaller studios. This powerful combination of industry-leading software and cutting-edge audio technology opens new avenues for creative expression in music, film, and beyond. As more professionals embrace the possibilities of three-dimensional audio, we can expect to witness a wave of groundbreaking content that captivates audiences and pushes the boundaries of what is possible. The Pro Tools 2023.12 update is not just an upgrade; it's a leap forward in the accessibility of immersive sound workflows.
An exploration of fascinating auditory illusions like the Brainstorm/Green Needle effect, Shepard’s Tone, and Binaural Beats, revealing how our brains can be tricked into hearing things that aren’t really there.
December 5, 2023
In the digital age, the internet continues to be a breeding ground for intriguing and often mind-boggling phenomena. A classic example that captivated online communities in 2019 is the "Brainstorm/Green Needle" auditory illusion. This peculiar occurrence involves a short video clip featuring a plastic toy emitting a sound. However, what makes this phenomenon truly baffling is that individuals claim to hear distinct phrases depending on which word they consciously focus on: "brainstorm" or "green needle”. The illusion offers a glimpse into the intricacies of how we perceive audio.
Check out the phenomenon here: https://www.youtube.com/watch?v=5pRY3wlKwm8
Central to this illusion is the concept of expectation. When we’re primed with a specific word or visual cue, our brains seem to interpret the sounds to match that expectation. The Brainstorm/Green Needle illusion highlights the influence of suggestion on how we perceive sound. The mere act of consciously directing one's attention towards a specific word or visual cue can alter the way we interpret audio.
The Shepard's Tone, named after cognitive scientist Roger Shepard, is a phenomenon that creates the illusion of an endlessly ascending pitch, despite the absence of any actual increase in frequency. Picture yourself adjusting the tension of a stringed instrument, gradually increasing the pitch with each turn. As the tension rises, you anticipate the string reaching its breaking point but despite the escalating tension, the pitch remains unchanged.
This illusion is achieved by layering multiple tones at different octaves, fading in and out in a carefully choreographed manner. As one layer fades out, another fades in at a higher octave, creating a seamless transition that gives the impression of continuous ascent. Hans Zimmer skilfully demonstrates the use of the Shepard's Tone throughout his work, being featured in movies such as Batman and Dunkirk.
While the Shepard tone primarily focuses on pitch perception, the Risset rhythm, on the other hand, applies this illusionary effect to the domain of rhythm.
The Risset rhythm is achieved by layering multiple rhythms, each playing at a faster tempo than the one preceding it. As one rhythm accelerates, another slower rhythm fades in, creating a seamless transition that gives the impression of a never-ending increase or decrease in tempo.
The Tritone Paradox is another intriguing auditory illusion that plays with our perception of pitch. It involves presenting listeners with pairs of tones, with one ascending and the other descending, yet some individuals perceive the direction of the pitch differently. For instance, one person might interpret the sequence as ascending, while another might perceive it as descending. This paradox sheds light on the intricate relationship between how we perceive audio and the cognitive mechanisms responsible for interpreting musical intervals. It sheds light on the subjectivity and complexity that underlie our experience of sound.
The Continuity Illusion challenges our conventional understanding of sound perception by demonstrating the brain's ability to bridge gaps in auditory input, creating an uninterrupted flow of sound. The Continuity Illusion is a phenomenon in which a continuous sound appears to persist even when briefly interrupted by a moment of silence. In other words, the brain "fills in" the gap in the audio, creating the illusion of uninterrupted sound.
Understanding the Continuity Illusion requires delving into the intricate workings of the auditory system. When a sound signal reaches our ears, it undergoes a series of processes in the auditory cortex of the brain. The brain interprets the frequency, intensity, and duration of the sound, creating a perceptual representation. When a momentary interruption occurs, the brain employs predictive processing, a mechanism that uses prior knowledge and context to "fill in" the missing information. This predictive processing allows us to maintain a seamless stream of sound, even in the face of interruptions.
Binaural beats is a phenomenon that occurs when two slightly different frequencies are presented separately to each ear. The brain perceives a third frequency, which is the mathematical difference between the two presented frequencies. This perceived beat is not an actual sound, but rather an auditory illusion created by the brain's processing of the different frequencies.
For example, if one ear hears a tone at 300 Hz and the other ear hears a tone at 310 Hz, the brain perceives a third tone at 10 Hz. This is called a binaural beat. This beat is often described as a pulsing or throbbing sensation.
Binaural beats have been studied for their potential effects on cognitive processes, relaxation, and meditation. Some people use binaural beats as a tool for achieving altered states of consciousness or for enhancing focus and relaxation.
Examining the balance between artistic expression and audience comfort, this article explores the impact of new loudness standards on cinematic mixing and the future of film sound.
November 28, 2023
In recent years, renowned filmmakers like Christopher Nolan have come under fire from audiences and fellow directors alike. Sparking controversy through the auditory experience of their films in cinemas. Debates like this have seemingly prompted the European Broadcasting Union (EBU) to throw their hat in the ring, introducing new cinematic content loudness recommendations that aim to strike a balance between artistic expression and audience comfort, without completely removing creative and subjective decision making.
Chris Nolan, the director behind blockbusters like ‘Inception’ and ‘The Dark Knight Trilogy’, has found himself in the midst of a unique and long running debate. Since 2014’s ‘Interstellar', criticism has mounted over the clarity and audibility of dialogue, partially due to the levels of music sound effects in his theatrical mixes (Namely ‘Tenet', 'Oppenheimer' and 'Dunkirk'). Unfortunately, this has resulted in discomfort, and in extreme cases, pain amongst moviegoers. Disrupting the immersive experience we all love and leading to some audience members walking out of theatres. Nolan's justification for dialogue clarity issues falls down to an artistic choice, stemming from his refusal to re-capture lines through ADR. Stating “I like to use the performance that was given in the moment rather than the actor re-voice it later. Which is an artistic choice that some people disagree with, and that’s their right.” Enter EBU and their latest R128 s4 Loudness Normalization recommendations.
Like other content being mixed and delivered to EBU R128 specifications, there are multiple factors and measurements to take into account. Before the latest recommendations, the most important of these were; Programme Loudness (The integrated loudness over the duration of a programme) and True Peak Level (The maximum value of the audio signal waveform of a programme in the continuous time domain). However, in their ‘Cinematic Content’ recommendations you’ll now also find; Dialogue Loudness (The average loudness of the speech component of a programme) and Loudness to Dialogue Ratio (The difference between Programme and Dialogue Loudness). The goal with these new measurements is to ensure that no dynamic adaption will be needed between the theatrical and home/streaming release of a programme.
EBU recommend that Loudness to Dialogue Ratio should not exceed 5 LU (Loudness Units). They believe that, if the LDR is within 5 LU “no dynamic adaptation needs to be performed, thus keeping the quality of the original mix.”. Alongside these Dialogue specific measurements, a Programme Loudness target level of -23.0 LUFS, and a True Peak Level below -1dBTP is recommended. On the surface, it appears to be a rational solution, but why could this be a double-edged sword for re-recording mixers and filmmakers alike?
Cinematic storytelling thrives on dynamic range, leveraging highs and lows to convey emotion and build tension. Enforcing a rigid standard risks stifling the artistic choices that make cinema a powerful medium. The recommended LDR may not be universally applicable, different genres require distinct approaches to sound design. The intensity of a high-octane action sequence against a tender, dialogue-driven moment requires flexibility that a one-size-fits-all approach may not accommodate. Crafting a mix that preserves artistic intent whilst ensuring clear and intelligible dialogue is a delicate dance. One that the finest re-recording mixers have mastered to navigate the diverse landscape of cinematic storytelling. Historically this was carried out via calibration to Dolby 7 (85 dB SPL C-weighted) and the mixer would use subjective artistic judgment to craft a theatrical mix.
Filmmaking will always be a subjective and divisive art form. Keeping in mind that Nolan’s movies are the most notable examples of this debate in the mainstream, then taking into account how far technological advancements have taken digital audio, plus the role of re-recording mixers. We think the introduction of similar standards should be kept as a last resort option. It's imperative for filmmakers, audio engineers, and industry stakeholders to engage in a continuous dialogue that balances creativity with audience comfort to ensure that the cinema experience can be enjoyed by generations to come.
Our Ultimate Guide to Audio Post Production will serve as the complete resource for anyone looking to learn more about the craft of audio post-production.
November 21, 2023
Welcome back to part 2 of our Ultimate Guide to Audio Post Production and Sound Design.
Our Ultimate Guide to Audio Post Production will serve as the complete resource for anyone looking to learn more about the craft of audio post-production. This guide contains a specially curated selection of our blog posts from our archives, as well as external content such as videos, tips, and insights from trusted industry sources.
Check out part 1 of the guide here:
https://www.344audio.com/post/the-ultimate-guide-to-audio-post-production-sound-design
Mixing is the process of balancing all of the different pieces that make up a film's soundtrack.
The mixing stage usually consists of pre-mixing and the final mix...
The pre-mix stage is where each section of the tracklay (dialogue, foley, backgrounds, sound effects, music) will be individually mixed into the film. The mixer will work to ensure a consistent tone throughout, making sure that each element is positioned and that the levels are consistent. The pre-mix stage aims to provide the Dubbing Mixer/Re-recording Mixer with as many creative options as possible in the final mix, and as such may contain a lot more content than what ends up in the final delivery.
This is where all of the different elements will be balanced against each other. This stage is usually conducted in a specialist mixing environment that offers similar acoustics to a cinema system. The Final Mix will be performed by the Dubbing Mixer/Re-recording Mixer after all of the tracklay is completed and the Director has approved the work. The Re-recording mixer takes the audio tracks that the team has assembled, deciding which elements will remain (in line with the Director's notes) as well as their overall tonal balance, distance perception and technical needs for the final deliverables of the Sound Mix.
Mixing sound for picture involves a lot of artistic performance. Re-recording Mixers tend to cue the picture while moving faders, pots and touching screens on digital mixing desks, which yields a very fluid sound. Their eyes, ears and hands are used in tandem whilst working.
Another crucial element to mixing is the distance perception of sounds. Dialogue is usually situated at the centre of a mix, but will have effects added to push it further from the viewer when characters are further away visually. The remaining tracklay will fill and take advantage of whatever 'percieved space' the given speaker system and delivery specification provides. This means that the more channels you have in your mix (common setups include Stereo 2.0, Surround 5.1 or Surround 7.1), the more options you have to immerse the audience and place sounds in different areas of the listening environment.
For Theatrical Release, the Final Mix should have more dynamic range (the difference between the loudest and quietest sounds) than a mix for Television or Online Distribution. This is to allow for a more pleasant and emotional journey when listening through an ideal system (cinema) vs. a more consistent and louder mix when listening through a less than ideal system (television speakers, phone speakers).
Paul Maunder discusses mixing surround sound in Pro Tools.
Deliverables are the final product that you deliver to the Editor, Producer and Director for use in the final master version of the film.
See the following table which details the deliverables needed for the most platforms.
Standard mixing levels for different formats are a common area of confusion for many budding audio post professionals.
Lets break down some of the key terminology.
Refers to the absolute peak amplitude of the audio signal.
The perceived loudness of an audio signal measured in loudness units measurements such as LUFS or LKFS.
A measurement unit to describe the loudness of an audio signal. There are different types of standards depending on the broadcast territory or streaming service.
Loudness units relative to full scale. LUFS was developed to ensure the consistency of audio levels, and is tailored to how our ears perceive sound.
Decibels relative to full scale. This is the measurement most commonly seen on the standard peak metres in your DAW.
Loudness, K weighted, relative to full scale. A standard loudness measurement for broadcast television in the USA.
Refers to the recommended loudness for film/radio broadcasters in the EU to measure and control programme loudness. EBU R128 regulates that all broadcasts must meet the following audio standards: Max integrated -23 (±0.5) LUFS, Max True Peak -1dbtp.
Reference: link
Refers to the recommended loudness for film/radio broadcasters in the USA. Max integrated -24 LKFS, Max True Peak 2dbtp.
Reference: link
Regulation to cover maximum loudness level for theatrical trailers and commercials. This is measured using the Dolby Model 737 soundtrack loudness meter with a measurement technique called Leq(m). TASA regulates that trailer loudness should not exceed 85 dB Leq(m).
Loudness recommendation for online streaming platforms such as YouTube. Min Integrated: -20 LUFS, Max Integrated: –16 LUFS, Max True Peak: -1dBtp.
Reference: link
Max Integrated Dialog: -27 LUFS Max True Peak: -2dB
Reference: link
No loudness standard. When mixing film for cinema, the mixer relies on their own judgement in order to craft the loudness journey of the film and the sonic experience. They should, however, be operating in a calibrated listening environment.
Here is a video showing how to calibrate your monitors for theatrical mixing:
Youlean's list of loudness standards:
https://youlean.co/loudness-standards-full-comparison-table/
Our 5 Pro Tools mixing secrets:
https://www.344audio.com/post/article-5-pro-tools-mixing-secrets-for-audio-post-production
5 ways to improve the sound of your mixing room:
https://www.344audio.com/post/article-top-5-ways-to-improve-the-sound-of-your-mixing-room
Reliable 5.1 monitoring on a budget:
https://www.344audio.com/post/article-reliable-51-monitoring-for-c2-a31000-is-it-possible
The Interesting history of home monitoring systems:
https://www.344audio.com/post/article-the-interesting-history-of-home-audio-systems
Noise reduction, how much is too much?:
https://www.344audio.com/post/article-noise-reduction-how-much-is-too-much
Rebuilding your studio:
Audio branding encompasses the use of audio/music alongside a brand or product to communicate brand values to the customer and reinforce brand identity. It has its origins back in the days of radio advertising, and is an important area of audio post production, music composition, and sound design.
Audio branding is effective because sound has the ability to convey emotion in a way that visuals cannot. Companies want us to associate their brand and products with positive emotions. Sound is used to thrill and excite us, all in the hope that when the time comes we will choose their product over a competitor.
But audio branding is about much more then making sales, it is a statement, a way to convey the essence of your company down into a single digestible piece. Think 20th Century Fox, Intel or the Mcdonalds whistle. Audio branding allows companies to communicate their vision to the masses without a single word being spoke. Powerful is an understatement.
When working on an audio branding brief, You will likely be given a set of descriptive words that sum up the values of the brand, or the values they wish to express. This could be something simple like innovative, prestigious, exciting etc. The brief may also give further guidance on the structure and general flow of the piece if its music, or if its something more sound design based they may give references to similar sounds and aesthetics. If asked to create an audio logo you may also have to re-purpose it into different variations for different circumstances such as advert, corporate video, company conference etc.
Take a look at a piece of audio branding that we have completed along with a blog detailing the brief and how we achieved it.
https://www.344audio.com/post/news-344-audio-rebrands-global-company---bni
Audio branding is worth paying attention to, especially considering the rise of voice based technologies such as Alexa and Google Home that allow consumers to interact with a brand through sound. As these technologies continue to develop and new advertising channels are opened up, there will be considerable new opportunities for sound professionals to employ their skills and expertise.
Thanks for taking the time to read through our ultimate guide to audio post production! We have condensed countless hours of knowledge into this guide, with insights from our whole team that have been gained from years working in the industry. Please consider supporting us by making a purchase from the 344 Audio store!
Audio post production is a business like any other, so its important to invest time outside of the studio and develop professional skills such as networking, marketing and promotion.
In a competitive freelance environment like the one in which we operate, you need to know how to brand and promote yourself. If you imagine you are walking down a supermarket aisle and filling the shelves to either side are rows and rows of sound designers, what are you offering thats going to make someone pick you?
You should also pay close attention to how you present yourself to clients and prospects both online and in person, and make every effort to act in a professional manner. Regardless of what anyone tells you, appearances matter, regardless of how good your work is. Making films is expensive so why should someone take the chance on you if you haven't made the effort to present yourself properly. This is crucial to get right in the process of building relationships that lead to repeat collaboration.
Your showreel is your professional calling card that shows off what you can do. It gives potential clients a complete overview of your skills and the sonic style that you bring to the table. If you don't have much experience with editing videos, enlist the help of a friend, and assemble a selection of your best audio work from the projects that you have completed.
Resist the urge to play it safe. You want your showreel to be bold, exciting and impactful for whoever is watching. Your showreel should have a sense of flow to it, with building intensity until the climax in the final 3rd, much like a piece of music. Make sure to include some of your most interesting and unique sounds, as this is what will help you stand out from the crowd. It also helps to show some variety so try and stay clear of using the same 2 or 3 projects. Animation projects are always great to include as they are usually visually striking and usually allow for some fun and creative audio work to sell the story.
Watch some of our showreels here:
Our article on the importance of repeat collaboration:
https://www.344audio.com/post/article-the-importance-of-repeat-collaboration
Our interview with Spirit Studios:
https://www.spiritstudios.ac.uk/news-item/our-stories-alex-gregson/?
Our article on how to find work experience in the audio industry:
5 new years resolutions for your audio business:
https://blog.prosoundeffects.com/top-5-new-years-resolutions-for-your-audio-business
How to stand out in sound design:
http://www.soundspheremag.com/news/manchester/industry-blog-how-to-stand-out-in-sound-design/
Our case study on business growth hub:
https://www.businessgrowthhub.com/case-studies/344-audio
Masterclass' tips for becoming a sound designer:
https://www.masterclass.com/articles/tips-for-becoming-a-sound-designer#quiz-0
Music Radar's post about the sound design career:
https://www.musicradar.com/tuition/tech/music-careers--sound-designer
Careers in Music's post about the sound design career:
https://www.careersinmusic.com/sound-designer/
You can also learn about our Lead Audio Craftsman Alex Gregson's story of how he found his way into the industry.
A career in audio post production is going to involve long hours sat in front of a screen, with large doses of stress and external pressure in the form of deadlines. It's important that we make caring for ourselves a top priority, not only to avoid burnout, but to ensure quality work. The happy blacksmith makes the sharpest sword.
Avoid smoking and excessive drinking. Make an effort to eat properly and partake in some regular form of physical exercise. Treat sleep with reverence and don't pull all-nighters if you can help it. Also, go easy on the coffee and consider a glass of water instead.
When the pressure and stress of meeting deadlines becomes a little too much, just take a second to step back and reflect on the things you love about your job. Remembering your grand vision and your reason for doing what you do will help you get through any tough times you might face.
How to stay healthy in post production:
https://www.344audio.com/post/how-to-stay-healthy-in-post-production
The conservation of peace and quiet:
https://www.344audio.com/post/the-conservation-of-peace-quiet
5 essential tips to stay productive when working from home:
https://www.344audio.com/post/5-essential-tips-to-stay-productive-when-working-from-home
5 inspirational quotes from industry veterans:
https://www.344audio.com/post/5-inspirational-quotes-from-industry-veterans
The creative independent on how to stay healthy while filmmaking:
https://thecreativeindependent.com/guides/how-to-stay-sane-and-healthy-while-making-a-film/
NME's guide on self-care in the music industry:
Forbe's article on how to make self-help happen:
Top Tips for beating the creative block:
How to get started on your audio journey will be completely different for everyone who takes this path. Here's our thoughts on the educational side of the Audio Post industry.
Do I Need A Degree In Sound Design? What You Need To Know:
https://www.344audio.com/post/article-making-sound-decisions-do-i-need-a-degree-in-sound-design
There are a number of great online resources for those interested in learning more about everything we have covered here.
https://www.musictech.net/guides/essential-guide/the-creative-guide-to-sound-design/
https://www.soundonsound.com/series/synth-secrets
https://www.macprovideo.com/library/topic/synthesis
https://www.youtube.com/user/SeamlessR
https://www.asoundeffect.com/category/sound-design-guides/
https://www.soundonsound.com/techniques/sound-design-visual-media
https://www.soundguys.com/field-recording-guide-26352/
https://www.creativefieldrecording.com/wp-content/uploads/2013/06/The-30-Day-Quick-
Start-to-Field-Recording-Sample-1.1.pdf
https://www.creativefieldrecording.com/2015/11/18/field-recording-gear-buyers-guide/
https://www.asoundeffect.com/field-recording-guide/
https://www.asoundeffect.com/blog/
https://www.premiumbeat.com/blog/recording-foley-and-sound-effects-the-fundamentals/
https://www.videomaker.com/the-comprehensive-guide-to-recording-and-editing-your-own-sound-effects
https://www.boomboxpost.com/blog/2017/3/1/top-5-tips-for-recording-sound-effects-like-a-pro
https://www.creativefieldrecording.com/2012/10/17/how-to-record-sound-effects-on-a-budget/
http://www.rode.com/blog/all/a-quick-guide-to-recording-foley-effects
https://www.izotope.com/en/learn/how-to-record-foley-at-home.html
https://www.pro-tools-expert.com/home-page/2017/6/21/loudness-and-dynamics-in-cinema-sound
https://chrisjonesblog.com/2014/08/film-sound-mixing-top-tips.html
https://www.thebeachhousestudios.com/mixing-sound-for-film-audio-post-production-overview/
We hope you enjoyed reading this guide and have hopefully gained some useful knowledge to take forward into your next project! Keep checking back as this article will be updated regularly with new content.
