‘…then there’s all these weird things you deliver as well, there’s a thing called a helper track…if you ever encounter in your professional careers because it took me ages to find this out, is, it’s the sound that you might or might not replace in a foreign version, so if there is a radio playing in the background and it’s got a English song on it, it’s the vocal split from that and if there’s a TV on in the background, it’s the voice track from that…‘ – Studio Manager at a top UK audio production house.
An important part of the dub mixer’s role is to manage the various deliverable’s of a film’s mix and, in the spirit of the advice above which I received from an interview conducted for another module, I’ve carried out some research into some of the more unusual requirements that may catch a newly fledged dub mixer out.
These will not only include various seperated mixes of sound effects, music, dialogue and rendered FX tracks, but also more specific versions which may be required for foreign language cuts of the film. Conversion to another language is often considered to be relevant only to the dialogue mix, but can often have ramifications for other aspects of the picture’s sound palette as illustrated above. It is also worth stepping away from the feature-film sector for a moment when considering these factors, as things like laugh tracks in studio-based TV work may well be captured to some extent with the dialogue recording and will need to be replaced or augmented if the original dialogue is removed.
An example of a related requirement of delivery for the dub mixer in the context of TV would be the bleeping or replacement of words deemed offensive from the original dialogue. Requirements here are absolutely client specific and will vary considerably based on intended audience, and the best way to minimise issue here is for:
‘…the discussions and understanding of the audio elements (to) be started early to be sure to fulfill the requirements prior to delivery. It is always best to get things right from the start.‘ (provideocoalition.com) [IN2]
Audio delivery requirements in general haven’t been particularly relevant to working on student films throughout this year, and in the case of the film I’m supervising for this project there’s no requirement for a ‘helper’ track as the film was kept relatively simplistic and naturalistic (though the disembodied voice over from one scene would need to be provided in another language if a foreign language version were ever motted), and I’ve had to prompt the director to specify any file delivery requirements at all. However, extrapolating our two sci-fi leaning projects this term outside of academia I could foresee the need to provide helper tracks with these mixes, since both films contain sequences featuring dialogue-heavy TV shows, disembodied advertisements and TV montage sequences. [PER1]
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More detailed information on potential delivery requirements for the dub-mixer’s work – Research
[IN2] To develop a better understanding of the craft and industry of a Dubbing Mixer, and to contribute to the dub mixing required for presentation of the artifact – (Dubbing Mixer)
How does this apply to the films we’re making – Reflection
[PER1] To develop a better understanding of the pros and cons of business structures, processes and agreements which might enable film audio producers to collaborate on multiple projects