Overview of the role
Re-recording mixers or dubbing mixers are post-production audio engineers. The RRM will work very closely with production, with the filmmakers, to create the ‘final mix’, the final audio track, for a broadcast programme, commercial or movie.
The final mix is created by the RRM who will normally balance, modify and change the spectral content of the dialogue, sound effects, music and in some cases narration, whilst working very closely with production, normally the director, and/ or producer/s.
The work of a RRM or dubbing mixer takes place within a sound mixing suite or theatre. They will use a sound mixing console and a digital audio workstation (DAW). There is normally a picture guide of the project to work to. The RRM is responsible not only for the ‘final mix’ but the associated ‘final audio deliverables’ that production requires.
Core responsibilities
These core responsibilities are provided as a guide and are not exhaustive. The exact responsibilities in a particular job will vary depending on the scale, budget, genre of the production and whether the project is a series or a feature documentary.
- The RRM is responsible for the final audio track that production require. The final mix must also be ‘spec’ compliant. The audio specification or spec, is associated to the audio delivery required. For example, a ‘streamer’ such as Netflix require certain audio level norms, so the final audio mix/ track must be measured to make sure it comes within those parameters.
- The RRM is responsible for the various audio delivery requirements that each project may require. The RRM will be actively involved in this process or will oversee the process if working with an assistant re-recording mixer or in some cases a Mix Technician. For example, a project may require to be broadcast in territories around the world, so the RRM and team will/ may need to provide audio tracks that can help other territories to facilitate language changes. Each project whether for theatrical use or for broadcast will normally have a deliverables document that sets out what audio tracks are to be required after final ‘sign-off’ of the soundscape for that particular production.
Skills
Check out role specific skills, transferable skills and attributes for the role of re-recording mixer / dubbing mixer.
- Dealing with pressure / time management: A RRM has to be mindful of the projects schedule and thereby it’s time restrictions, that has been derived normally by the audio post production budget. In some cases production and the RRM have discussed in detail the projects audio requirements in detail and worked together to create a schedule. The schedule will consist of how much time is required for the audio team to prep the sound before it’s ‘mixed’, and how much time is required to mix that prepared sound to create the audio elements required.
- An RRM needs to able to deal with pressure that will come from the budgeted time restrictions versus the creative input that’s required to complete the final mix that’s reviewed and signed off by production. To help mitigate that pressure, usually there’s been a lot of time needed to not only prepare the sound elements to be used by working closely with the audio editors, but also to help prep and shape the expectations of production.
- People management is essential and therefore good communication skills are a must. Working with the audio team and production before the mixing starts can be time consuming and pressurised but it usually lays the foundation of a successful outcome. Dealing with highly creative personnel can have its difficulties and of course its rewards. Discussion is essential and indeed a pre sound prep ‘spotting session’ is useful. A spotting session is used as a means of watching the project through with the edit and audio post team, talking about the projects final audio mix requirements, how it should be shaped, how it should sound.
- Full collaboration is essential between the teams involved in the projects post production. So a RRM may have to have schedule and requirement discussions with the picture post team. The picture post team will be, in most cases, handing over to the RRM and audio team the final picture file that the RRM will mix to, creating the final mix and the full associated audio deliverables.
- Attention to detail: in some cases the RRM will have to deal with many layers of sound information, that together form the final sound track. Each part of the sound track-lay needs to be understood and addressed accordingly. Every nuanced sound effect, every cue of music, every line of dialogue, all parts of the audio session, will in most cases be aurally manipulated by the RRM. This requires not only a high level of detail and concentration, and at the same time, the ability to interpret and act on the creative demands of the attending film makers.
- Being creative: a RRM is a highly creative job, but set within the parameters of the project. There are many types of documentaries, created in many countless ways by a process that’s already developed the shape and form of the project, it’s the creative skill of the RRM to finalise, in some cases, the final part of that journey by mixing together the audio elements to form the final acoustic narrative.
- Tech proficiency: working as a RRM you have to be both creative and have a good level of technical knowledge. A breadth of knowledge, from using the sound mixing console, the DAW (digital audio workstation) and having an understanding of the audio software and hardware that can be found in the sound mixing studio/ theatre, is essential. Through being technically proficient, the RRM will need to understand the audio spec and deliverable documentation associated with each project, and deliver accordingly, in the required time scheduled. You will also need to have a technical understanding of your part in the final stages of post production with the other departments: what’s required from them and what’s required from the audio team.
- Prior to what’s known as an ‘attended session’ the RRM might have worked on their own, so being able to work independently
- Problem-solving
- Organised
The RRM has to use their creative, tech proficiency and communication skills, to interpret the aural ‘vision’ of the film makers, and thereby manipulating the audio tracks into the soundscape. During the process of creating the main audio delivery, the RRM has to work very closely with the director/ and or producer/s. This process of understanding the end aural content of a production may have started many months before: through viewing various versions of the picture edit, discussing the project with the film maker/s, talking to the music composer and so on. However, the lead-up process to starting the audio journey of a project might be just a matter of days and in some cases hours.
- Sharing of knowledge: The RRM will in some cases have the opportunity to share knowledge with their audio teams. In some cases a RRM will have an Assistant who will be shadowing and learning how to communicate with the filmmakers, interpret the projects narrative and finally create an audio mix. There will also be the sound editors who will work along side the RRM, sharing knowledge and know-how as to how the audio is being prepared, especially if there’s some special equipment/ audio manipulation that’s required.
- Dealing with difficult situations: unfortunately difficult situations that arise whilst working on a project is common. But through experience most RRM can handle those situations comfortably. Problem solving through communication and/ or technical expertise. Knowing who in production or what part of the post chain to deal and interact with. Sometimes in attended sessions, emotions can run high and communication between the participants can become difficult or indeed overwhelming. One of the skills of an RRM is to develop coping mechanisms and strategies to help defuse the tensions or conflict that can occur. Nowadays this is quite uncommon and of course a projects final successful outcome depends on a safe environment and a positive working relationship.
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