[cmaynes]

Hi Marti-

In regards to working backwards- Mike Minkler is the guy who amazes me- He is so good at using that backwards time to refine his dialog that it boggles the mind. The whole client thing is really based around the idea that if the film isn't at speed, they (the client) do not feel they are required to pay attention to it. In my short experience, I have seen many great mixers grow impatient of Director / Picture Editor /Producers interjecting comments on a dialog track that is in process of being made presentable. As a designer/editor I normally do not have to be concerned with uninformed folk observing me whilst I make the sausage, however when I mix, it is almost like you are naked and have no curtain to hide behind while the magic is created. (at least with reverse playback mixers could work unmolested for brief periods of time).


As to dubbing to video vs film-

It seems that lately I have been doing a bit more exaggerated panning in predubs since it can be narrowed in the final. I think I have done pretty decent work at least according to the guys who received the predubs (I think the weapons / mayhem in the first Tomb Raider worked out pretty good) I must say I think it is really important to be able to segregate the stuff as wide as possible, even to the degree of going with 16 channel Predubs for further segregation (carrying a format like : LCRLsRsB,LCRLsRsB,LCR,C,C,C

I am thinking this way mainly because I do a lot of guns and stuff and It is really nice to give the extra attention to some of the more distant stuff. I also like to build ambience into the tracks without using reverbs and such (because I just do not like the way the sound most of the time- and mean the real stuff not plugins!)

I would love to chat further, but I don't want to bore everyone...

cheers!

charles maynes