Variety: Oscar voters will weigh in on sound editing and sound mixing in final balloting, which runs Feb. 12-23. But even industry veterans can get confused at the difference. Here’s one way of remembering: E comes before M in the alphabet, so sound editing occurs before mixing. But they’re not separate entities; neither can live without other.
3 comments:
This was a very informative and interesting read. While I knew that the tasks involving a film’s sound and scoring was broken up into a number of steps, I didn’t really know what the main roles in this process were. This article did a great job of describing the difference between the jobs of the sound editor and sound mixer for films, and the interplay between their roles. It is interesting to compare this to theatre, where while there may be multiple people working on a sound design, it is often the same people editing sound effects and mixing them, oftentimes just one or two people doing both tasks. In film, sound tends to be much more finely polished, and often leveraged to its fullest extent to subconsciously affect the audience’s emotions. This is done most obviously with scoring which is used very heavily in cinema, where in theatre sound designers tend to rely more on atmospheric effects. In the first sound design class I took in high school, our instructor warned us of over-using underscoring music and other techniques, since doing so in theatre can feel out of place when juxtaposed with the realistic actors on stage. What is clear from this article is that cinema sound can get very complicated. It is crazy to consider hundreds, or even thousands of channels that need mixing. I’m glad that the article makes the point that two awards aren’t excessive. Sound is often miss-understood and not given props so I’m glad that in the film industry those working on the sound for film are at least getting some decent recognition.
I'm going to start off with the fact that I absolutely loved this article! It does an excellent job in explaining the different tasks done by the sound editor and mixer of a film. The fact that the title of this article has the word "Oscar" in it makes me even more excited because sound for film interests me so much. While reading this article, I visualized myself doing the job of either the editor or mixer and realized that if I were to work in film, I would love to be a film sound mixer. I've always had an obsession with controlling the volumes and blending the sound. It's so great that this category in the Oscars is still such a prevalent one as sound is so important in a movie. It creates emotion, feeling, suspense, interest. It makes a lot of the movie what it is and I'm so proud to be a part of the sound world and aspire to hopefully even win an Oscar for sound mixing. Dream big.
Every year, I watch the Oscars, and I fill out my little ballot, even though it doesn't count towards anything, and I can fill them all out except these two. I had no idea the difference in sound editing and mixing, and honestly it's fascinating. Sound is so fascinating and I cannot imagine Fury Road without the sounds it has. THe fact that they had to create all the engines and even the breathing is astounding to me, for such a vast movie. Honestly, I wish the Oscars would spell out these categories for the regular viewers a little more on television, so they could truly appreciate the work and dedication that goes into these under appreciated categories.
Now, I want to go backa nd watch Inside Out and Mad Max to identify where sounds were created and mixed well.
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