![]() ![]() This adds annoying overhead, and I also think it introduces a layer of opacity that kind of prevents you learn from what the other person did. This round trip - which is industry standard, as far as I can tell - is a sort of “lossy” operation, where the wav files just contain the final results of the tweaks made in Pro Tools, with no information about specific adjustments. Then he sent back mixed down wav files - a final mix as well as separate tracks for music, fx, and dialog - and then I had to reimport everything back into DaVinci. One frustrating bit of this process: because he used Pro Tools, I had to export of everything in a particular format and send it over to him. ![]() He discarded my mix, started from scratch, and quickly produced something more polished. So I hired a professional post-production sound engineer to spend a day and a half creating a stereo mix with Pro Tools. Įventually, I got my mix to a “somewhat decent” status - and maybe given an additional month or two I could have gotten the mix to “good” status - but it probably still wouldn’t be as good as what a pro could do in a few hours. Along the way, I learned a ton - from YouTube videos, from this excellent course Resolve 17 End to End, and from this 643pp manual on Fairlight Audio in Resolve 17. So, I spent a few weeks cleaning up the sound with the Fairlight tools in DaVinci Resolve. I knew I wanted to have a professional sound mixer on set (capturing bad sound is really not something you can fix after the fact), but I originally thought that if we captured good sound during production, then maybe I could do a passable job of the post-production sound mix myself. ![]()
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