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We welcome guest contributor Associate Editor & Post Production Supervisor Angus Munro onto this episode of the Sound Matters Podcast. The conversation delves into the integration between production sound and picture editing, emphasising the importance of a great production mix and its impact on post-production. It also explores the challenges in managing sound levels and continuity, as well as the significance of sound in different viewing environments, including theaters and home entertainment. The role of sound in film production, the impact of listening environments on sound quality, and the importance of sound in different viewing environments are also discussed. The conversation covers the importance of sync tests, the role of Digislates, considerations for shooting at 48 frames per second, and the use of 32-bit float files in Avid. Sync tests are crucial for sound mixers, and the use of Digislates is emphasised for accurate syncing. Shooting at 48 frames per second presents technical challenges, and the potential use of 32-bit float files in Avid is discussed.
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By Simon Hayes5
44 ratings
We welcome guest contributor Associate Editor & Post Production Supervisor Angus Munro onto this episode of the Sound Matters Podcast. The conversation delves into the integration between production sound and picture editing, emphasising the importance of a great production mix and its impact on post-production. It also explores the challenges in managing sound levels and continuity, as well as the significance of sound in different viewing environments, including theaters and home entertainment. The role of sound in film production, the impact of listening environments on sound quality, and the importance of sound in different viewing environments are also discussed. The conversation covers the importance of sync tests, the role of Digislates, considerations for shooting at 48 frames per second, and the use of 32-bit float files in Avid. Sync tests are crucial for sound mixers, and the use of Digislates is emphasised for accurate syncing. Shooting at 48 frames per second presents technical challenges, and the potential use of 32-bit float files in Avid is discussed.
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