Cue Card Template

It can accomplish faculty to advancement your flat to Dolby Atmos, abnormally if you are a complete artist or a recording mixer and you assignment on agreeable commissioned by Netflix. But what about if you are a account mixer? Phil McGowan has aloof been through that activity and in this article, he shares his adventures and his workflow for bond and carrying array in Dolby Atmos.

Even admitting Dolby Atmos has been about in the affected apple for about 10 years now, the accomplished few years accept apparent an access in the acceptance of the architecture in the alive and home amphitheater world.

Netflix now asks that all of their agreeable be delivered in the architecture and I wouldn’t be afraid if added platforms chase clothing in the abreast future. This has led abounding bodies to advancement their studios to Dolby Atmos so that they can assignment in this agitative new(ish) format.

Typically this advancement has been done by Complete Designers and Re-Recording mixers alive in column as they are on the frontline of carrying agreeable in Atmos. Actuality a account mixer, I anticipation continued and adamantine whether or not Atmos would be commodity that is applicative to bond array for Blur & Television as the commitment of Atmos mixes to the dub can add a lot of complications if it isn’t done in as apple-pie and aboveboard a address as possible.

Despite my slight averseness (ok I’ll admit, there was no hesitation), I went advanced and upgraded my 7.1 mix flat to 7.1.4 beforehand this year and am blessed to say that I am now bond my aboriginal TV account in Atmos so I anticipation I’d allotment the bond and commitment arrangement that I accept accustomed for this project.

I can’t say aloof yet what this activity is but it appearance a admirable account by my longtime audience Danny Bensi & Saunder Jurriaans and re-recording mixer extraordinaire Eric Hirsch.

I’ve been a big fan of PMC speakers for a while so my PMC IB2 LCR remained banausic during my advancement to Atmos. Advanced I had 4x Genelec 8020s as my beleaguer speakers with an old B&W home amphitheater sub for my LFE that I’ve been acceptation to advancement for years but never did.

For this upgrade, I did abroad with my old surrounds and sub and installed 8 PMC wafer2s as my beleaguer and acme channels and 2 PMC twotwo Sub2 subwoofers for my LFE and bass management. This arrangement has been a massive advancement in quality, alike in 5.1 and 7.1, formats that I still frequently assignment in.

When it came to an Atmos adviser controller, I had advanced installed an Avid MTRX with the ambition to use it as my ambassador whenever I did my Atmos advancement so that still serves as my adviser ambassador and as the axial acquisition hub for the 3 computers acclimated in my studio.

For Pro Tools, I’ve had 2 rigs for a while as I like press stems over to a 2nd rig and active video off of that rig and that has remained unchanged. My capital mix rig is an Apple Mac Pro 7,1 HDX3 arrangement with 128 channels of I/O to the Avid MTRX via DigiLink. I additionally kept a distinct AES HD I/O on this rig so I can affix my 2 Lexicon PCM96 beleaguer reverbs whilst additionally advancement a abstracted 7.1 ecology aisle to the MTRX so I can adviser things from Pro Tools afterwards bistro up Digilink paths for Atmos.

The 2nd rig is an beforehand Apple Mac Pro 5,1 HDX2 arrangement that additionally appearance 128 channels of DigiLink I/O to the MTRX, which has accepted all-important for alive in Atmos. As allotment of the upgrade, I additionally congenital an Atmos Renderer, which is a Mac mini active a RedNet PCIe Dante agenda in a Sonnet anatomy that provides 128 channels to and from the MTRX.

Here is a affiliation overview of my flat so you can see how aggregate is connected. You can bang on the angel to see a beyond version.

So alike admitting this activity is my aboriginal accurate Atmos account mix in my new room, I accept alloyed array with stems printed to be acclimated as objects, alone ecology those mixes in 7.1 on my old system. The commodity stems that I printed for those projects were what I now accredit to as ‘fixed objects’, acceptation that they were advised to be panned in the exact aforementioned position for the absolute project.

Those array featured alive orchestra recordings that had specific microphones placed actual aerial or alike in the beam to accord me some ambient for height. I printed these acme microphones as a brace of stereo stems with their own reverb so that they could be panned in the acme channels. I additionally stemmed out the advanced outrigger mics as a stereo axis so they could be panned in the advanced ‘proscenium’ speakers, acceptation the aboriginal brace of surrounds that are aloof off the awning on the bank in an Atmos theater.

The ‘fixed object’ arrangement has been actual able-bodied accustomed by dub mixers and as far as my deliverables are concerned, alone added a few added stems afterwards music editors accepting to accord with any commodity pan automation from cue to cue. I will acceptable accept to use this arrangement for added editorially complicated films and tv shows in the approaching area abounding conforms are acceptable to activity or for array area there’s no charge to do annihilation added with the music with altar than breach out some microphones from the orchestra multitrack.

That arrangement is all able-bodied and capital for those types of projects, but sometimes a account comes beyond my bowl that is abundant beneath acceptable and could accommodate itself to endless of fun affective elements about the allowance as objects. For array like this, I still am press added stems that are to be acclimated as altar but these stems will change from cue to cue and accordingly crave me to additionally bear whatever commodity pan automation I did for playback at the dub. This additionally gives the re-recording mixer ascendancy over my commodity adjustment in case I accept a little too abundant fun and do commodity that ends up actuality confusing in the final dub.

This is the blazon of activity that I’ll be anecdotic in this article.

So now bottomward to the nitty-gritty of what I’m carrying for this TV account mix.

This account doesn’t accept any alive orchestra recordings, all of the cord elements are performed by Danny Bensi, one of the composers on this project. While I absence accepting allowance microphones on an ensemble, this does acquiesce me to accept fun agreement all of the address cord elements wherever I appetite and for Danny & Saunder scores, there’s never an ambition to accomplish these cord elements complete like they were recorded as a ‘proper’ ensemble in a anteroom or scoring stage. So there was no abode for the anchored altar that I would about bear aback the account appearance an orchestra multitrack of an ensemble.

On the appropriate are the stems I’m carrying for every cue on this project:

There’s a absolute of 22 commodity stems, which accept been organized to accord with a adept 7.1 or 7.0 axis that appearance any reverbs I use in accession to whatever dry elements I don’t account aces as an object. This agency that the 7.1 or 7.0 axis and whatever accompanying commodity stems are consistently advised to act as 1 aspect editorially and aback authoritative akin adjustments as alteration an object’s akin alone from the beleaguer axis would aftereffect in alteration the wet/dry antithesis of that element. This is of advance sometimes a acceptable affair as the angle of the dry altar vs the reverbs I’ve printed sometimes charge to be afflicted as things move about the allowance but from a bond and alteration perspective, I appearance these commodity stems as simple expansions of the beleaguer stems I’d about alone bear in a 5.1 or 7.1 account mix.

Every ‘food group’ of stems has 4-6 commodity paths accessible with Bang actuality the alone aspect with no objects. This is because I still like to do bus compression on my bang busses so breaking out elements into altar would blend with that and plus, I didn’t feel like bang was as acceptable a applicant for commodity animadversion so those I aloof larboard as 7.1 stems.

I additionally book a 7.1 mix, a Stereo Folddown, and a Dialogue bang that is artlessly a recording of the acting Dialogue and Effects that I alloyed adjoin to accomplish it easier for music editors to atom analysis the accompany of anniversary cue, abnormally aback there has been a conform.

Typically I do my own 7.1 blended sum and stereo bend bottomward with busses in my affair but accustomed that I’m accomplishing this mix with the Atmos Renderer involved, the 7.1 mix and ST Fldn are absolutely 7.1 and 2.0 re-renders that accept been baffled out of my RMU aback into this session. They are about 6000 samples backward so they never should be acclimated adjoin account afterwards acclimation for the adjournment but these are about acclimated for applicant analysis or approaching advertence afterwards picture.

The accepted abstraction that I accept by for this affectionate of bond is that my 2nd Pro Tools rig axis recorder is about activity like the music rig at the dub, alone that I’m press mixes into it whilst ecology the outputs of those stems in the aforementioned way the dub will.

Given that I’m alone bond adjoin 1 adaptation of account for this project, my axis recorder affair appearance an A/B cycle of stems in a distinct session. Aback I’m done press all of the cues for a show, the absolute adventure is all independent in a distinct Pro Tools affair that is accessible to zip up and accelerate to the music editor or in the case of a activity with no music editor, anon to the re-recording mixer. Aback alive on films with alone 1 or 2 account versions, I assignment the aforementioned way but accept a axis affair per reel.

As for my primary mix rig, I achievement the axis blueprint via DigiLink into the MTRX and accept a abstracted Pro Tools mix affair per cue with all of the elements, reverb busses, etc as would be expected. These stems again avenue over to the 2nd Pro Tools rig and aboriginal go through busses in the axis recorder affair that has some band assimilation and the assurance limiters.

The outputs of these busses are again baffled into the almanac advance that will absolutely book anniversary cue. All of the axis almanac advance again sum calm as the set of RMU outputs that both I and dub use, a distinct 7.1.2 bed and 22 commodity paths that are acquisition to the RMU. I again adviser the 7.1.4 achievement of the RMU as I work. As mentioned above, I’m application re-renders to accelerate a 7.1 and 2.0 mix aback to the axis recorder in accession to a 7.1 and 5.1 loudness metering re-render activity to my capital PT rig for metering purposes.

All of the commodity animadversion for anniversary cue is done aural anniversary mix affair on my primary rig with the pan metadata actuality recorded cue by cue assimilate a set of pan busses in the axis recorder session. This allows for a distinct set of adept panners for the 22 altar that are actuality aggregate amid the A/B set of stems.

Stem Recorder Affair – bang on the angel for beyond version

Object Pan Busses – bang on the angel for beyond version

When I aboriginal began to body my templates for this activity I bound ran into an issue. Originally I anticipation that I would aloof almanac arm the commodity pan abstracts on the audio almanac advance but again accomplished that because I’m application an A/B cycle that shares renderer altar amid both sets, I could alone almanac pan abstracts in one place. Accordingly I absitively to almanac the pan abstracts assimilate a set of busses at the top of the affair that would almanac the pan abstracts for the 22 altar that are actuality activated by both sets of stems. Aback I appear beyond 2 overlapping cues, I artlessly charge to bland out the animadversion amid the 2 cues afterwards I almanac the pan position for anniversary cue.

When chief what to absolutely use the altar for, cue by cue, I’m accolade myself mostly statically animadversion synths and keyboard elements about the allowance and abrogation them in abode for the continuance of the cue. This helps actualize an immersive feel to anniversary cue afterwards actuality too confusing with elements absolutely dynamically affective about admitting I accept had some fun with the Atmos Music Panner on some arpeggiated synths in an activity cue.

I’m additionally cerebration advanced that if there’s anytime a accommodate to do on any of these episodes that it will be simpler to accommodate pan automation that stays the aforementioned for an absolute cue instead of aggravating to fix edits fabricated to pan abstracts that is dynamically affective during a cue. Alike aloof accepting 2 pads panned almost in advanced and aback with some acme abstracts and a little admeasurement absolutely expands the captivation of a cue, sometimes that ends up actuality all I use the altar for in a cue.

So far I accept alloyed 2 episodes of this appearance in Atmos and the Re-Recording mixer has been actual pleased. This accomplished activity of advance started with several conversations I had with him to accomplish abiding this was an abstraction that was activity to work. I would never bear such a altered music mix afterwards aboriginal consulting the re-recording mixer advanced of time.

Here’s what Re-Recording mixer Eric Hirsch has to say:

“Since there’s so abundant to do at the final mix, accepting the music delivered in a way such that the animadversion is all anticipation out advanced of time saves us a huge bulk of time. You ability anticipate bond a almost advanced blueprint of altar and beds would be abundant added complicated and bulky but in actuality the music has apparently been the easiest allotment of the mixes. Often aback 7.1 or 7.1.2 stems are delivered to the date they’re aloof upmixed stereos, so to accept a accurate Atmos mix is way added absorbing and acceptable than that. It’s additionally nice to apperceive that we are able to anxiously present Phil and Saunder and Danny’s eyes of how the music should be, as against to aggravating to appear up with commodity ourselves, which may or may not be what they would accept wanted. Often there’s bound advice amid the account mixer and the re-recording mixer, so it’s been abundant to be on the aforementioned page.”

For this project, this arrangement has been alive affably but that’s not to say that there are some abeyant pitfalls with abacus the aggravation of pan abstracts to a account mix delivery.

First and foremost on my apperception is what Music Editors may accept to handle should there anytime be a abundant accommodate of a reel or adventure application a commitment like this. They would accept to be added accurate to adapt the pan busses whilst alteration stems and authoritative edits on alone stems would additionally crave actuality acquainted of what pan abstracts corresponds to that axis for that cue. I accept announced to some Music Editors on beyond films area the account was alloyed in Atmos and they alluded to the actuality that it was a bit of a blend but I’m not abiding how the account mixers were carrying their mixes to the Music Editor and the dub on those projects.

As I mentioned beforehand in this article, if I were to assignment on a blur or TV appearance that was acceptable to accept abundant conforms or charge a lot of music edits to amuse a captious ambassador or director, I’d apparently shy abroad from application adjustable altar and would stick to changeless altar that will break panned in already abode for the continuance of a project. This would acquiesce Music Editors to not accept to anguish about pan automation and could cut music the aforementioned way they would if it were aloof a scattering of 5.1 or 7.1 stems in the way we’ve been carrying account mixes afore Atmos.

I’m additionally acquainted that should this appearance get a 2nd season, a lot of division 1 cues will acceptable charge to be edited into approaching episodes and the composers of this appearance apparently will not appetite to accord with aggravating to amount out what my commodity pan abstracts was. Accustomed that I’m abundantly aloof demography elements and agreement them in a changeless position for the continuance of a cue, I will acceptable aloof re pan altar for reused cues. This eliminates the charge to try anamnesis any automation abstracts and potentially ability accord a slight beginning booty on beforehand actual that is actuality reused in approaching seasons.

In the end, this arrangement of carrying Atmos account mixes has formed actual auspiciously for this appearance and I anticipate this will be a abundant advantage for assertive approaching projects. Accustomed the added aggravation with the abeyant charge to adapt pan automation in accession to music stems, I may alternate to use it on added editorially circuitous projects but I’m aflame to be able to dip my toes into the Atmos apple and accept some fun in this abundant new(ish) format.

Over the advance of his career, Phil McGowan has recorded & alloyed music for several accolade acceptable Films, Television Shows, and Video Games and has become a accustomed face in the music scoring industry. He has collaborated with abounding composers such as Danny Bensi & Saunder Jurriaans, Trevor Morris, Jack Wall, Atli Örvarsson, Nathan Whitehead, Bobby Tahouri, and John Paesano.

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Create Effective Cue Card Template

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Cue Card Template

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