How to Be a Sound Mixer | On-Set Audio Masterclass

In this new episode of Sound 101, Andrew hops on set with sound mixer Ethan to talk us through all aspects of sound mixing. That's right, this on-set audio masterclass will teach you how to be a sound mixer! We go over gear, mixing techniques, file delivery, on-set etiquette, camera cadence and much more! For anyone looking for a guide on how to become a sound mixer, this is a great place to start.

0:00 - Intro
0:42 - Chapter 1: Sound Mixing Overview
1:40 - What gear does a sound mixer need?
2:08 - Channel management/wiring
3:16 - Wiring up talent
3:28 - Where to place wireless packs
4:39 - When to lav up talent
5:37 - Chapter 2: Set Etiquette
5:40 - Where to set up
6:12 - On-set cadence
7:04 - Polywav files
7:30 - File delivery and metadata
7:46 - Chapter 3: On-Set Mixing
8:17 - Recording screams and whispers
8:50 - Diagnosing problems/PFL
9:45 - Movie Scene Run-Through
10:26 - Movie Scene Final Edit
10:52 - Chapter 4: End of Day
10:59 - Reclaiming your gear
11:30 - Creating a Sound Report
11:43 - Transferring media
12:14 - Battery management
12:41 - Sound Report deep dive
13:52 - Outro

Want more free sound and filmmaking tutorials? Subscribe to Deity Microphones on Youtube!
🎤Subscribe to Deity Microphones' Youtube Channel:

🎤Subscribe to Deity Microphones:

🎤Connect with the Deity Team!

🎤MUSIC:

Summary:
Deity Microphones produces weekly digital web content to help filmmakers and sound mixers grow in their education. Deity Microphones shares this free web series in hopes that the next generation of filmmakers grows in their video production quality and changes the world.

Deity Microphones produces free educational web content to help filmmakers, vloggers, sound mixers and sound designers grow as creatives and take their production quality (be it independent, TV, or studio) to the next level. Deity Microphones believes that budget should never be a constraint to creativity.

[DeityMicrophones]

What episode would you like to see next?!

[ethanrhanielle]

Thanks for having me Deity! I'm glad to have been a part of this video it came out great!

[DanielRentzsch]

Nice video! I like the details about organizing your stuff. This is often forgotten, although it's mandatory for efficiency in the editing. Also, great visualisation and video structure.
I'd like to add some points though, from my experience of sound mixer and boom operator for many years:

1. Always use headphones when booming! In your video the boom operator has no headphones. That would be an absolute no-go for me. It's the sound mixer's job to deliver a monitor signal for the boom operator. It's so crucial to judge the audio by your ears, not only your eyes. Otherwise, it'll be like operating your camera without a viewfinder, just by guessing your framing by camera angle and focal length.
Many mixers offer an aux output to create an additional output with only the boom mic routed. If you don't have to pass the audio over to the camera, you can try to use the mixer's main outputs.
If you have the equipment, you can build a smart solution with wireless systems. There are special monitoring wireless systems available, with convenient features like a volume adjustment knob on the receiver. But also some standard lav-system can be reused for that purpose.

2. Speaking of volume adjustments: I'd always recommend to set your headphone volume once with a appropriate level and don't touch it then. Especially not during a recording. Wear closed-back headphones to isolate you from the rest of the set. If you adjust the headphone volume, you lose your reference for the correct levels and have to rely solely on the meters. Of course the meters are necessary to use but at the end, your ears are the most effective analysing tool for quick adjustments.

3. Learn the script! If you do scripted work with multiple talents involved, the boom operator should always know who says which text. If you don't that sooner or later, you'll miss half a line, since you haven't adjusted the mic's position. Preferable, you even know already the acting. If your talent is supposed to stand up in the middle of a scene and you're not prepared, you could hit it with your mic or you may be in the frame when the camera follows the talent.

4. If you have to record two talents side by side with only one boom operator, decide your position carefully. If possible, I'd use a position between them, so basically on the axis with the camera. Doing so I can switch the mic position from one to the other my only twisting my boom pole slightly with my wrist. Standing at their left or right, I always have to move back and forth.

I know these suggestions are more for boom operators but maybe it's helpful for some of you though. What do you think?

[mariotb]

Just got into the Film Industry as a P.A. and mind blown with the amazing Lav graphics that explained the outputs. Wish most tutorials were like this. Thanks!

[malmeadows]

Ethan’s got drip. Never hurts to see how others mix! Thanks for the advice Andrew and Ethan

[Vectif]

Thanks so much for all these videos. I was recently introduced into this industry from a Sound in film seminar in one of final college classes; and while sometimes I had an assistants and I could just mix, I have also had to do a one-man boom + placing lavs + mixing combo, I instantly loved it. I was always into music and sound, so this seems right up my alley, I would like to try to dedicate to this in the future as a job. These have been incredibly helpful and insightful, and the quality of each video is superb. Thank you.

[hugolagnado-monery]

This is literally the best video ever, thank you

[didgeproject]

Solid video. I am a mix-pre3 user and learned a lot here. Thx guys!

[metalinyourhead]

I remember working with a Mixpre 3 in college, and during our documentary assignment, I put the lavs on channel 1&2 since those inputs were right next to each other, and then since the boom was on channel three on the other side of the recorder, I knew what was what. Just helped with organizing.

[clurkroberts]

I wish I had such a complete instruction 40 years ago. This type of information wasn’t freely shared within the industry

[benh]

Such a great, informative, and concise video! Thank you!

[FirstLast-tjnl]

I'm diving deep into post sound and live music mixing but this opens my purview into on set film as well.

[RhettBrownatRetroWreck]

Great job! The visuals and breakdowns were explained perfectly clear. Cheers to you! Thanks!

[showmaster]

Can’t wait to look at that spreadsheet ❤

[arminfatol]

Hi, I have learned a lot from this video, and also others of yours, so thank you! A quick question please... can the Sound Mixer also be the boom operator at the same time/set? Or there is a need of at least 2 people for those jobs?

[jordanpresley]

This was great! Thanks to the team who all worked to put this together!

[adamgarceau]

Last weekend (Saturday and Sunday) I used this exact setup but I put the boom in port 3 because it was by itself and 1&2 were right next to each other. First time mixing a short film I must admit. No catastrophes. But it would have been good if someone taught me how to do that spreadsheet. I wish I saw this before. This would have saved the sound designer some trouble 🤪. There’s always next time haha

[jake]

This video is amazing complete breakdown so much help thank you so much!!!

[JosephMichael]

I rented an ifb setup from that dude on a project a few months ago haha
All around solid dude

[bethanysparks]

This is a really excellent channel. Well paced, great graphics, storytelling is easy to follow, strong demonstrations. Great work.