I’m after some very technical and detailed books on cinema audio systems, with the aim of building a solid understanding of the basic theory, rather than a spec on newer tech like Dolby atmos etc. It’s very easy to find such books about hifi and recording etc, but it seems to be less so in cinema, maybe because few people engage with it as an amateur.

Thanks!

From Imprinted, where the demo was just released. Any other games that have DAWs? I know of Alawon and Offbeat but both aren't out yet. Would like to try other games that have tried to turn DAWs into reasonably accessible gameplay.

It seems most editors will choose a song, then when they want it to end, paste the ending of that song onto that same track. The ending is just pasted in wherever with no regard for the timing or musical structure so it just sounds terrible, like a jump cut in the music.

I fix it by matching basic bars and beats but it changes the timing of cues which can cause issues with timing.

I must be on my hundredth botched music cue on this series alone.

Would you say this is bad editing, or just expected as part of the workload for sound?

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

Sort of noobie here, our film got into a big festival across the country and will be shown in 5.1. My understanding is that we would provide the 6 channels ,(lcr, etc) seperately to the video but not sure how to go about that, should they be compiled in a dcp or something? When i was in school my teacher printed our mix into 3 different tracks such as dialogue, sfx, music, etc. but im not seeing anything else online saying to do that so im a bit lost, this is my first time ive been able to show this film in 5.1 rather than stereo so I havent been well educated around this ^

The Advanced Television System Committee (ATSC) has just approved an important revision to A/85, ATSC Recommended Practice: Techniques for Establishing and Maintaining Audio Loudness for Digital Television, the broadcast loudness standard that prevails in the United States for terrestrial digital television, and forms the basis for most streaming television standards.

The new language has been in the works for nearly a year and was approved on Wednesday, July 8. This last revision prior to this one was approved 13 years ago, in 2013, and this revision adds important clarifications for re-recording mixers and a few minor but key changes for long-form content metering, as well as addressing the needs of streamers.

What’s the same:

• All content should still target -24 LKFS, ±2.
• Advertisements should still be metered using the full program mix.

What’s Different:

• For long-form content, A/85 now recommends that content be metered without a relative gate (mixers should meter using Annex 1 of ITU-BS.1770 and no later annexes), and should be metered with the Dialogue Gate ON.
• ATSC now explicitly recommends that accurate Dialnorm metadata be transmitted for all AC-3–encoded programming.
• Several Annexes have been added that consolidate the recommendations into a Quick Reference Guide for station managers and audio mixers (Annex H and I, respectively).

There several other small changes but the biggest change is the adding of the dialogue gate to long-form programming.

I’m just dipping my toes into the world beyond all things stereo and I’m curious about everyone’s home setups. Particularly on the more affordable end, but interested in hearing about it all.
What speakers are you using? Software? Plugins?
I’ve just upgraded to the RME UFX fireface III.
I typically just do commercial work but I’ve done stere mixes for Indie short films and features and would love to start expanding beyond that.

Please share any info that would help me get a decent home setup started. I appreciate you all.

Thanks in advance!

Here’s some reporting at the Hollywood Reporter.

https://www.hollywoodreporter.com/business/business-news/streaming-ads-quieter-1236630965/

You turn on your favorite show but can’t hear the dialogue. You turn the volume up. It’s perfect. Then, an ad comes on. It’s way too loud. You’re annoyed.

That’s about to become a thing of the past, at least in California. Starting on July 1, a state law will go into effect barring streaming platforms from servicing ads louder than the programming they accompany.

Gov. Gavin Newsom signed the bill last year forcing the normalization of audio levels so viewers aren’t jolted by blaring commercials.

The language of the law, SB 576, is pretty straightforward and does what the USA CALM Act does, just extending the ATSC A/85 loudness recommendation for ads to all streaming sites that stream programming in California. (A/85 recommends programs be mixed to an anchored -24 LKFS ±2, and ads be mixed to a full program -24 LKFS level. This now applies to ads in California.)

The streaming platforms for their part opposed the measure for practical reasons:

Not everyone’s happy. The Motion Picture Association and Streaming Innovation Alliance opposed the measure, arguing that many platforms are already working to address the issue. They noted that services have long been intervening to adjust the loudness of commercials that come from server-side ad insertion, and that they’re trying to establish best practices for normalizing the loudness of ads.

It’ll be interesting to see how sites that deviate significantly from A/85, like Netflix, deal with the new rules, however the ATSC has also been revising A/85 with the California law (and a similar Illinois law) in mind.

https://www.atsc.org/wp-content/uploads/2026/06/S42-032r12-A85-Revision.pdf

The draft hasn’t been ratified but will probably be in the next few weeks, with a major change being long-form programs will now be recommended to be measured with a speech-gated integrated level. I’m co-chair of the Cinema Audio Society’s Industry Technical Standards Committee and this change was made in part from our input. Our chair, Jon Greasley CAS sits on ATSC‘s S42 audio committee.

California is also considering extending ad loudness regulations to social media sites with an Act currently known as SB 96.

hi, one of my friend (which on film school with sound major) currently looking for budget beginner audio interface for foley and ADR work, currently using Nuendo as the main post software. on the secondhand market, the CI2+ is similar in price to new Audio Duo, but he's still confused om which one he should consider.

Hello, and thanks for any advice you can offer!

I have finished recording sound for a short film. We had the video and boom mic synced with timecode, but the two Lav mics were not. I was able to use Syncaila to get these synced to the boom in my Resolve timeline- but I am struggling to find a way to pass this off to the editor in Premiere.

Basically, the editor wants to be able to grab clips, have them synced with the audio, and drop them as need to Premiere. This seems impossible unless we can link the clips using Timecode on Premiere's side so I'm wondering- can I just render the full timeline/sequence of each Lav mic, manually add the timecode from it's starting point, import that to Premiere and be all set?

Let me know if there are other workarounds, it seems like it is not possible to batch create new clips with audio embedded in Resolve, or easily link audio back to clips in Premiere that do not have timecode metadata

Anyone get around this somehow? Do i just bite the bullet and buy treatment? Mixes have been really boomy even though they sound ok in studio…

I mostly have 2 questions:

Is there a general rule about loudness of certain elements? Ambience, foley, FX, dialogue?

And this kind of ties into the second question: how do you go about mixing and volume while mixing? When you start with ambience design, is there a certain level you aim to peak at and thats the level that will remain in the end of the mix? How do you make sure youre not reverting back to already mixed portions to turn them down once you see your ambience in one scene and an explosion in another are too close to each other in regards to loudness? Do you start with the loudest part of the project? How do you know the quitest part is not too quiet compared to the loudest?

I'm the "tech guy" for a relatively new studio space in North NJ (45 min outside Manhattan). We're going to do a lot of renovation work, but strategically we would like to make ADR and post a big part of our business. What advice do you folks have?

Thanks so much in advance for any help

Joe

Women are shaping the future of media, broadcast, AV, workplace technology, and digital experiences every day through leadership, innovation, and expertise.

Yet too often, their achievements go unrecognized.

That's why we're proud to launch the Women Without Boundaries Awards, a program dedicated to celebrating the women who are making a meaningful impact across our industry.

Do you know someone whose leadership, vision, or contributions deserve the spotlight? Whether it's a colleague, manager, mentor, partner, member of your team, or even yourself, chances are you know someone whose story deserves to be told. 

Learn more and submit a nomination →

Nominations close August 28, 2026.

Let's celebrate the women shaping the future of our industry.

Title. Currently working in-house at one of the bigger facilities in my city and haven't been happy for a while with the crazy hours when busy and the low pay (currently in an assistant role).

I've been looking at other industries to transition into but can't shake this feeling that maybe it will get better after stepping into the mixing role. But then I also see mixers above me still working 50+ hour weeks and talk about how their wages never go up (I'm in a spot where unions do not cover mixers).

Is this truly an industry where you should only do this job if you really love the work? Or have some of you found this sweet spot? Genuinely would love to just hear other people's experiences and takes on this industry and career path.

Recent hire as a foley artist/assistant sound editor, working on features. I'm finding it hard to reach the deadlines required, without at least one all nighter on each project. Is it just a lack of experience that needs to be built up, or are there any time saving tricks people have learnt in the industry?

One thing that bugs me out
In SMPTE ST2096 2017:
" In some cases, the measured LFE response might have a definite peak rather than flat response across the pass-band. In this case, it is best to apply attenuation EQ to flatten the response, and adjust the overall channel gain to be within the target area tolerance, rather than applying boost to what appears to be a response deficiency. Boost-EQ on LFE/subwoofer systems is rarely effective, and can compromise headroom. To prevent over equalization of the subwoofer channel, some processors limit the available bands of equalization to as few as one parametric filter."

Can someone clarify this part with more clear and precise details ?

Hey everyone,

I’m a film student getting ready to graduate, and I’m looking for some advice on switching DAWs. I’m primarily a video editor, but I know the basics of how to do post sound for short films and have been using Pro Tools

I just want to switch DAWs. I'm currently looking at a few options and would love your thoughts

• Nuendo: I know it's an absolute beast for audio post and have heard great things about it from my colleagues.
• Fairlight (DaVinci Resolve): I’m strongly considering this because I already edit video in Resolve. For someone handling standard dialogue editing, basic sound design, and simple mixing for shorts, is Fairlight "good enough" to replace a dedicated audio DAW?
• Reaper: I’ve heard great things about its efficiency and price. I know the lack of native AAF support is the main downside for film post, but I've read that you can bypass this with Python scripts or tools like Vordio. Is the AAF workaround reliable enough for a smooth workflow?

Any insights from folks who have made the jump from PT to one of these—especially other video editors—would be massively appreciated. Thanks!

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

Im currently working on the sound editing and mixing of a proyect. There is this specific scene where the main character gets injected with a vaccine out of nowhere in the middle of the street, and I don't have any ideas on how to sound design it.

I was thinking about using like a vaccine injection sound, but my search for that specific sound has been a fail.

Any recommendations will be greatly appreciated!

[ Removed by Reddit on account of violating the content policy. ]

I've been using JBL305 v1 for several years-and then recently I heard the Adams. Wondering if this is an upgrade, or just a novel experience? The presentation was notably different, and I "liked" it. But will it be "better" for dialogue in particular? Small room, some treatment, mixing 2.0 for online material. I know it'll take time to acclimate.