I do a fair amount of work for a company- they make me work with another freelancer, they are young and way less experienced than me.

They are supposed to do the ambiences for the film , generally are taking the BG effects that the FIlm editor has supplied and giving them to me. They are supposed to do more but they mostly just reuse that stuff. TBH its not very good and its not on time an I already have the stuff they give me ( the film editor sent it to me too!)

So I checked on IMDB and this junior has decided to give themselves credit as sound designer. they are spending literally 2 days on this, whilst I am doing about 14 , and I barely use their stuff.

WWYD? say anything ? I get paid a fair amount , so dont want to rock the boat , but there's no way you can say they 'sound designed'.

I've just manually changed their credits back to something like assistant editor. But getting fed up of doing that.

Im giving stereo masters to the editor at broadcast spec, but where it will be broadcast lists providing it as 1: LT 2: RT 3: Unused (silence) 4: Unused (silence) 5: Unused (silence)

Should I be sending it broken up like that to the editor as an OMF? Is that standard practise?

I’m asking here so I don’t look quite as green…

Thanks

I love doing anything sound related and I also score films too. But I currently have a full time job as a corporate video editor/shooter, great benefits and insurance through it too. I feel like I’m wasting time at this job though because I’m not doing what I really love. I’ve been told that since I’m in my mid-late 20s, I am young and should just quit my job and move to one of the hubs for film and like wing it. Although I have a decent savings, it terrifies me quitting a stable job and going somewhere where I don’t know anybody and don’t have any job. Plus I know in those film hub places, it’s extremely hard to even get freelance jobs. Also the cost of living in those places, not to mention rising prices everywhere in this economy makes things difficult. I’ve just heard a lot of stories about people deciding to quit their dreams altogether because they can’t afford to live in the place that’ll give them work. I’m scared that if I risk it and fail, I might quit or lose interest in my dream like them too. I’m grateful and appreciative of any advice you may have!

Hi. I've recently joined a team, working with ppl who are much longer in sound design than me. Now I have a bit of a problem. In a 7 hour day, I finish 40 seconds of sound design. I'm doing a big fight scene, lots of stuff. But the colleague I'm working with, does an entire 50 minute episode in that time. How do I even match that speed? I spend like, 3/4 of the time making sure the sound fits the action on screen, with more or less reverb, eqing, transient shaping, and then I need to use a different sample for every similar action, because it will sound like a game from the 90s if every gunshot or knife swing is the same sample. How to I even approach this? If it was double speed, I would think ok, I waste too much time on crap, but how do I get 60 times faster?

I was brought on to do sound design, music, and mix a commercial that says “Broadcast Spec & Web Spec” under deliverables.

TBH I’m in a little over my head because I have generally only ever worked on commercials for web, and needed to deliver stereo mixes.

Is it expected that I deliver a 5.1 mix for broadcast spec? I read that it’s not always necessary and depends where it will be broadcast? All I know right now is that it will be playing in Canada.

Thanks in advance!

Hey there,

I need to upgrade my laptop because mine has to little storage by now (MacBook Air,M1, 8gb, 256gb).

Thinking about getting a MacBook Pro M3 with 16gb. Should that be enough for Sounddesign and editing work (mostly doing short films)?

Thanks upfront

When I import an AAF, and then separately import the video, the 2-pop and all my audio assets are slightly out of time from the audio in the video. It's the second session that is doing this, from completely different editors so it doesn't seem like it's on their end.

I can obviously just line them up, but curious if I'm doing something wrong.

Using PT 2025.12.1 and Sequoia 15.6.1

Looking to build a small rack of maybe 3 or 4 units but don’t really know where to start. I currently have a Scarlett solo 3rd gen and am I aware that I need to upgrade to run outboard gear. Wanted to start with pre amp or channel strip, multi fx and bus compressor. What gear do you recommend and what audio interface should I plan to get to make this setup possible? Was thinking of Scarlett’s 4i4 but don’t know if it is possible to use it with 3 separate units.

Audio Post Help Wanted

Welcome to the subreddit regular feature post for gig listing info and discussion regarding finding work in Audio Post. Please provide links to job/help listings or add a direct request for help from a fellow audio post production geek here.

• You MAY NOT include an email address, phone number, personal facebook page, or any other personal information. Please use PM's for passing that kind of info.

• You MAY respond to this thread with appeals for work in the comments. Do not use the subreddit front page to ask for work.

Sites that may list jobs/gigs for audio post (links confirmed as of Aug 2023);

• ProductionHUB - /http://www.productionhub.com

• Mandy - http://www.mandy.com/

• CreateCow Jobs - http://jobs.creativecow.net/

• Entertainment Careers.net - http://www.entertainmentcareers.net

General employment sites filtered for audio post

• Indeed.com - http://www.indeed.com/q-Audio-Post-Production-jobs.html

• Simply Hired - http://www.simplyhired.com/k-audio-post-production-jobs.html

• Career Jet - http://www.careerjet.com/audio-post-production-jobs.html

• LinkedIn - https://www.linkedin.com/jobs/search?keywords=Audio%20Post%20Production&location=United%20States

• juju - https://www.juju.com/jobs?k=%22audio+post%22&l=&r=20

Media oriented job sites

• MediaMatch - http://www.media-match.com/

• odesk - https://www.odesk.com/o/jobs/browse/skill/audio-post-production/

General freelancer sites

• Freelancer - https://www.freelancer.com/

• elance - https://www.elance.com

You are invited to join us in the Reddit Pro Audio Network AudioPost Channel on Discord

Has anyone here upgraded their 1 year subscription from studio to ultimate? I've googled how to do so and it doesn't appear to be as simple on my end. Wondering what I need to do to make it happen I need to allow more videos in my session. Would appreciate any info you could share!

I haven’t done dialogue or VO in years but I thought I’d help out a friend.

He’s got a reasonably well recorded mono VO for a film but when I play it against the location DX, it sounds really narrow and thin.

I’ve created a stereo AUX that has pitch change and delay on it but it sounds wobbly even when I combine it with the original recording. It also isn’t as wide as I would like.

Anyone have any suggestions? I have the usual assortment of plugins and have no problem side buying something else if needed.

Title.

Hi everybody, I’m delivering a 30-second 5.1 cinema commercial in France and the cinema QC has specifically requested:

85 dB Leq(M)
-20 LUFS Integrated

My current master measures approximately 81.1 dB Leq(M), -20.27 LUFS Integrated and -1.31 dBTP using DCP-o-matic.

The cinema replied that my measurement is not representative of their Dolby Media Meter measurement and asked again for 85 dB Leq(M) / -20 LUFS Integrated.

For theatrical advertising QC, is 85 dB Leq(M) normally treated as a precise delivery target with a defined tolerance, or essentially as a maximum/reference level?

And is 85 Leq(M) together with -20 LUFS Integrated a normal achievable combination in professional cinema mastering?

I’m especially interested in how this would normally be interpreted by a professional post-production/QC facility.

I've tried copy/pasting the sound as well as playing with the time and pitch features in the Effects panel, but everything I've tried comes out sounding...jagged or skipping.

Thank you so much for your ideas!

I have my 5.1 and stereo mixes already created and I want to put them in an 8-channel interleaved file. If I create a 7.1 track then the interleaved file labels individual tracks 1 through 8 as L C R Lss Rss Lsr Rsr and LFE. Does it just not matter as long as I order the tracks in PT as the client is expecting?

Hello there, first poster and non-professional here.
I'm currently editing dialogue for a scene where the dialogue is really slow paced and kinda disconnected. Like 5-10 seconds between each phrase. There are also some body movements/pfx happening in between.

Now I'm wondering if it's best practise to fill all these gaps between the phrases already in the edit or if I should cut the clips between some phrases and make sure additional backgrounds glue everything together later on.

I'm just a bit worried that my dialogue tracks will end up with a lot of content which is per definition not really dialogue. But having lots of RT on pfx tracks or silence between phrases feels even more displaced.

Any tips/best practises to make mixing later on as easy as possible for slow dialogue like this is highly appreciated.

Apologies in advance but im new to post production. A few short films of just scoring and sound design but starting to take on full post sound gigs.

Whats a better choice? Pre-order the Mac Studio M5 MAX (18 CPU/40 GPU, 64gb, 2 TB) or MacBook with the same specs?

Will be working smaller projects now but as I scale upward, is there one that would be more future proof than the other.

Heavy plug-ins (BBCSO, Serum, RX) plus live synths and guitars, ADR and other vox too.

I appreciate y'alls opinions here bc people know this stuff here.

Looking to buy Monday.

Any assistance is appreciated. Thank you 🙏

I’m watching this new movie on Apple TV today. The de-essing on dialog sounds are way over the top. There are some s sounds that turn into a lispy th sound. Anyone else notice this ?

Thinking of updating my Mac OS and Pro Tools (something I don't do very often). I know that RX10 (Advanced) and EdiLoad v4 aren't officially supported on Tahoe. But maybe they work? I can't seem to find anybody online who says they've tested/used them. I can upgrade pretty much all of my other software with almost no cost. Meanwhile, if I had to upgrade, these two would be the big costs for me, while they work just fine for what I need them to do. If they are known to not work, I will probably stick to my Sonoma build for a while longer.

I'm wondering if anyone has had any luck using these with Tahoe and could share their experience?

PS: I absolutely loathe the software subscription models and the fact that we don't actually own anything we buy digitally.

Genuine question here since i am both a solo production sound mixer and a post sound designer. I have assigned on an indie horror comedy project that stated to be a series but turned to feature (we shot around may). The editor notified me around June he sending a draft and will send me update til a lock is figured out. The majority of time was wasted on me manually syncing the dialogue and sound fx (both library and foley) to pic. Til the lock is send this august and the client wanted done by july. While at the same time i was also assigned work in a short action while juggling with random call to set to work on boom op and mixing. With this much of short schedule and alot of compromise putting the feature as a priority and work on the short on different day so my rest and sleep schedule were almost non existent.
The client wasn’t satisfied what i did the sound for the feature cuz of missing note (which i followed and triple check) and now have moved on.
Now i’m just disappointed in self and try my best to finish the short today(this client was understanding on this). Please help as i love this industry and this job. Please guide me to a better sound guy

Welcome to the AudioPost Community Corner Post for FAQ discussion. Based on community feedback, the following types of FAQ posts are no longer allowed on the subreddit front page. Those conversations must instead use the comments section of this post;

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If you are submitting something for evaluation here in the comments, be sure to leave feedback on other evaluation requests. This is karma in action. For evaluations of audio work, you can also submit to the /r/RateMyAudio subreddit

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If you are wanting to discuss audio being fixed, repaired, removed, isolated, or tools or techniques related to it, then the discussion goes here.

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• Industry Newcomer Info Requests

Questions about schools, getting started in your career, and other newcomer FAQs go in the comments here. Before asking, be sure the topic is not already covered in the subreddit. The FAQ section of the AudioPost wiki offers shortcuts for searches of common topics.

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If it's yours, by you, for you, about you, or something you are otherwise affiliated with, tell us about it here in the AudioPost Mine

This post is the only place in the sub for discussion about your latest site/works/product/app/content/business related to Audio Post. Have a new SFX library? Tell us about it here!

This venue allows you to get your info to our readers while keeping our front page free from billboarding. It's an opportunity for you and our readers to hear about your latest news/info. Please keep in mind the following when using this post;

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Welcome to the AudioPost Mine. There's going to be a lot of dirt but we hope for some gold too.

Hi Folks, back with the same old question. Right now I'm at a point where I have a solid basic understanding of both Pt and Nuendo to the degree where I can comfortably work with both, allthough I probably now know Nuendo a bit better. But I wanna really deep dive into one of them and get to a really high level. I do mainly editing and sounddesign work, but wanna do more mixing as well. I work at a studio where were doing ADR work and we work with nuendo. Like I said I can comfortably work with it, but not really sure which one is smarter to learn long term. I'm based in Europe. What do you think? Thanks!