Salaries

Salaries

Salary depends on how much experience the Engineer possesses. Beginners start as assistants or set-up workers and usually only make minimum wage. Those who are more experienced will of course be better compensated. Still, a lot depends on whether or not the engineer is on staff or a freelancer. Those on staff can expect to earn between $27,000 and $50,000 per year. Experienced freelancers can earn more, usually up to $75,000 annually. Aside from base salary, Engineers may also be given a percentage of the studio rent fees. Top producers who work with popular acts can make up to $150,000 per year.
 

Career Routes

Typical career routes

No matter how highly qualified they are, the majority of Re-Recording Mixers start their careers at junior levels (usually as Runners) working for one of the Audio Post Production Houses. Experienced Re-Recording Mixers look out for those who show talent and a co-operative attitude and bring them into the mixing studio to train as Assistant Re-Recording Mixers, providing general studio support, recording Foleys etc. After several years, Post Production Houses usually promote the most competent Assistants to become Re-Recording Mixers. 

Re-Recording Mixers, formerly known as Dubbing Mixers, work with all the sound elements (Dialogue, Automated Dialogue Replacement, Foley, Sound Effects, Atmospheres, and Music), and mix them together to create the final soundtrack. They are primarily responsible for ensuring that film sound is correct both technically and stylistically. 

Setting the relative volume levels and positioning these sounds is an art form in its own right, requiring the skill and aesthetic judgement provided by experienced Re-recording Mixers. Because of changes in technology, many jobs in sound post production are less easily defined, e.g., on some small to medium budget films, Re-Recording Mixers may also work as Sound Designers. 

Although they are usually employed by Audio Post Production Houses, Re-recording Mixers may also work on a freelance basis. They work extremely long hours under considerable pressure, and usually work on both film and television drama productions. 


http://www.skillset.org/film/jobs/post_production_sound/article_4764_1.asp

Re-Recording Mixer Educational Path

Training and qualifications

Re-Recording Mixers are usually graduates of Music, Sound Technology, or increasingly, Computer Sound Design courses. Because this is a highly competitive area, many also go on to specialize in Film and Television Sound at post-graduate level. Sound is one of the best served areas for film and television.  Training at schools such as The New England Institute of Art (NEIA) are one of the best ways to obtain an Associates or Bachelors of Science Degree in this field.


There are many programs around the country to choose from.  NEIA has its educational accreditation through the New England Association of Schools and Colleges (NEASC) through its Commission on Institutions of Higher Education (CIHE).  NEASC also accredits other schools in the area such as Harvard.

  Essential knowledge and skills

Re-Recording Mixers must have an excellent knowledge of acoustics, sound recording and post production processes (analogue and digital) and all the relevant technical knowledge of sound mixing for feature films.  Most of the following are essential to be successful in this field.

Computers and Electronics - Knowledge of circuit boards, processors, chips, electronic equipment, and computer hardware and software, including applications and programming.

Communications and Media - Knowledge of media production, communication, and dissemination techniques and methods. This includes alternative ways to inform and entertain via written, oral, and visual media.

Customer and Personal Service - Knowledge of principles and processes for providing customer and personal services. This includes customer needs assessment, meeting quality standards for services, and evaluation of customer satisfaction.

Engineering and Technology - Knowledge of the practical application of engineering science and technology. This includes applying principles, techniques, procedures, and equipment to the design and production of various goods and services.

Fine Arts - Knowledge of the theory and techniques required to compose, produce, and perform works of music, dance, visual arts, drama, and sculpture.

http://www.artinstitutes.edu/boston/about/accreditation.aspx

http://www.skillset.org/film/jobs/post_production_sound/article_4764_1.asp

Re-Recording Mixer Job Description.

What is the job?

Re-Recording Mixers' first task on films is usually mixing the soundtrack for audience previews. Typically, this involves an intense period of time (up to three days) spent in the dubbing studio, where the they work at large mixing consoles, mixing and smoothing out (cross fading) the sound, often adding a temporary music soundtrack prepared by the Music Editor. Re-Recording Mixers must work quickly, to extremely high standards. 

After audience previews, the Producer(s) and financiers usually require films to be re-cut and further mixes to be undertaken by Re-Recording Mixers. When picture lock has been achieved (the Director and/or Executive Producer have given final approval of the picture edit), Re-Recording Mixers pre-mix the sound, reducing the number of tracks, so that the Final Mix can be accomplished with fewer technical complications. 

In the Final Mix, the sound track is further refined in consultation with the Director, and mixed to a 5.1 Surround Sound industry standard. This process can take between 2 and 12 weeks depending on each film's scale and budget. Re-recording Mixers finish work on films on the last day of the Final Mix. 


Key Skills include:

Ability to manipulate and work sound for the moving image 
Excellent aural skills
Ability to work efficiently under pressure
Excellent communication skills
Good organizational skills
Ability to work to strict deadlines 
Knowledge of the requirements of the relevant Health and Safety legislation and procedures


http://www.skillset.org/film/jobs/post_production_sound/article_4764_1.asp

Family Guy: How they do Voice-Overs

On Family Guy, Fox's animated series popular for its cutting-edge humor, dialogue reigns supreme. The show avoids audio effects altogether whenever a character speaks. That priority is not lost on the crew that records and edits dialogue for the show (along with sister production American Dad). But while maintaining quality, the crew also has to work quickly. In fact, the same directive even applied to setting up the studios at Fox Animation suites. Set in the middle of an office building with an open floor plan, the studios consist of modular, solid-looking prefab booths.

The Fox Animation audio crew records Family Guy dialogue with Neumann TLM 193 mics through a Yamaha DM1000 console and Aphex 661 compressors, though only light compression is actually used.

Three booths comprise the setup: one serves as control room; one as the main recording space; and one as a second, smaller iso space. “On these shows, there tends to be a lot of arguing back and forth between characters.  So they keep the talent in separate rooms and record them to separate tracks. The modular booths/flexibooths (http://www.acousticalsolutions.com/64) are incredibly cost effective. By themselves they're not inexpensive, but they can be moved, stored, and reused in another location. And the building's management loves them because they're so unobtrusive.

The recording chain is the same for everyone: Neumann TLM 193 microphones through the Yamaha DM1000 console's preamps and Aphex 661 compressors. The TLM requires zero EQ, other than rolling off everything below 80Hz, It's the mic they've used since the beginning. [Family Guy and American Dad creator] Seth [MacFarlane] likes it, and he knows music. The TLM has a high mid bump that cuts right through.
Recording to Pro Tools HD is straight ahead, with no plug-ins involved.  They use very light compression with the Aphex, and the use limiting in the sense that they like to keep their levels between -6 and -12, [on a 0 to -20 reference] so there's at least 6dB of headroom.


MLA: http://digitalcontentproducer.com/soundforpic/revfeat/video_dialogue_animation/