[Peter Groom]

If you are making level changes on the timeline, are those level adjustments making it to the output?
Do you not need to do a audio mix down to create a file of the nex volume? I do t use that software .
What is the play back medium. Files or DVD etc?
Peter

Post Production Dubbing Mixer

[Peter Groom]

There are plenty of available frequencies within each bank so youll be able to choose 2 with enough separation to be well safe.
Peter

Post Production Dubbing Mixer

[Peter Groom]

Hi
Sorry for my typos – comes from writing posts in tiny gaps and should slow down a bit.

Yes wild tracks are silent recordings using the same setup and mics as the dialogue recordings were made, to allow dialogue track smoothing.
Atmos (atmosphere) tracks are best stereo and are general recordings of an environment (beack/park/hillside/paltground etc . Used to layer, texture, fatten the sound scape and become really important in a surround mix.

You still dont seem to have pinned if or why you need surround. I meant that you should shoot separates, ie try to keep speakers on separate tracks etc and always boom as well as personals. That way the edit becomes better.
Id be surprised if a web video needs to be delivered surround. If its broadcast then it MIGHT be broadcast surround but different stations will have different spec / requirements. But Id doubt that ant station would REQUIRE surround as a condition, and be willing to tx a project at this level? They tend to be much bigger funded commissions where a full delivery spec is available from the go.

peter

Post Production Dubbing Mixer

[Peter Groom]

Are you confusing shoot and recording specs with delivery specs.?

What are you deivering the FINAL film on? This might explain it.
If its surround OR stereo then its choice.
But in either case you dont necessarily SHOOT in surround. Get good recordings on the shoot with split audio where possible tec and planty of atoms and wild tracks.
The surround or stereo becomes an issue in the sound edit and mix.

There your problems really begin as you said its low budget, you arent an audio specialist and you have to do it yourself.
I doubt if you can do the audio post yourself (based entirely on your words) and highly doubt you can deliver a surround mix that will actually work, be at the right levels, correctly mixed etc etc. Thats a much higher ask!

SO
my advice at this point is
1) go back to whoever gave you those specs, sit down and really thrash out the detail
2) get clarification on shoot specs and post specs SEPARATELY.
3) Be entirely open and truthful with them about where your knowlege and skillset starts and ends.
4) Get clarification on Surround or stereo vs surround AND stereo.
5) Estaablish where exactly these deliverables are to be created.
6) And most importantly, be clear on exactly who carries the can if it all goes pear shaped due to lack of clarity, understanding, kit, experience, budget etc. Dont let it be you.

NB Surround mic systems and arrays and techniques DO exist but are rarely used except in real high end work. Surround is created in the dub normally.

To address your initial question about levels, this will be -10 and will be a calibration of reference level from your mix desk, or field mixer, to the recorder using a reference tone. The meters and inputs on both devices must be calibrated and adjusted to deliver the right level recordings. This is called Line up. Then only using the right type of metering in the mix will go be able to deliver to the right spec, AND not risk distortion.
The fact that you ask this sets my alarms bells off.
Loads of questions on this.

Peter

Post Production Dubbing Mixer

[Peter Groom]

Of course all of that goes out of the window when wardrobe require a hat, and the director requires everything else.
Peter

Post Production Dubbing Mixer

[Peter Groom]

What do you want it to do.
Peter

Post Production Dubbing Mixer

[Peter Groom]

Might I suggest a little caution in buying a lot of kit. As you are starting out, only time will tell if this is the right industry for you, both from a personal position and wether financially its a success. You can always buy more later if necessary, but maybe a more cautious approach might be better??

In the UK there are hundreds and hundreds of voice overs, only a small maount of whom really make a good living at it. Ive known quite a few bail out as it just isnt a money spinner for them! You might be the best ever and make a real fortune but might not also?

What are you doing to allow connectivity between you and your clients?
Peter

Post Production Dubbing Mixer

[Peter Groom]

Yep exactly.
Profession or hobby?

As a hirer of dozens of VO’s per week, Im not interested in keen amateurs. I need people who know the trade, have the right kit, the right commitment, will be there working day after day and deliver the goods.

Questions to consider

Who will your clients be, where are they and how will you be contacted.
How will they get your voice. Are you recording and emailing, using an IP connection, ISDN lines?
What are your specialities. Why should they call you. Are you great at characters, commercials, reading fast, or power reads etc etc.
How will you market yourself to them.

Then the kit, desk, pre amps, isdn codecs, computers, soundcards, software etc etc all becomes a factor of the market you wnat to exist in.
Peter

Post Production Dubbing Mixer

[Peter Groom]

i went for an LG but an internally connected one. didnt want external. are you ona pc or a locked down mac.
Peter

Post Production Dubbing Mixer

[Peter Groom]

Hi Scott
That sounds well worth huntin g for.
which menu is that available in.?
Peter

Post Production Dubbing Mixer