How To Do Film Sound Mixing: A Complete Audio Post Production Tutorial by Thomas Boykin

How do you mix a film? I just came across this fantastic tutorial (originally a live stream) by Thomas Boykin which takes you through the entire process - from editing sounds, to mixing sound effects, music, dialogue, working with Foley and balancing everything out. It's an amazing resource, and I've added some timestamps for you so you can jump directly to the topics that interest you the most.

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Watch the video here (remember to check out the topics below the video):

 
00:36 Introduction
02:17 Lessons: Sound Mixing a Film: A Complete Audio Post Guide for Beginners
02:58 The Goal of Your Sound Mix: Support the story being told • Q: What drives this film? • Separating sound editing and mixing processes
06:15 The Workflow of Audio Post phase of Filmmaking:: Picture edit is either “locked” or almost locked (why?) • Audio post begins with an export (what kind?) to audio team (or continued in NLE) • Sound editing is first step, and separated into three or more categories: a) Dialogue Edit, b) Sound Effects Edit, c) Foley, d). Scoring/Music Editing
16:57 Dialogue Editing: Relation to GOAL (story) • AAF vs assembly • Reductive process (mics, noises, shifts) • Software/tools needed • Very easy to overdo processing, save it for the mix • Role of ALTS and ADR • Delivery of DX edit to mix stage
28:45 Music Comp/Editing: Relation to GOAL (story) • Support of emotional journey • Interaction with DX • Source music/needle drops • Overuse of music in film • Editing to help music with • GOAL • Delivery of music for mix
36:54 Sound Effects Editing: Relation to GOAL (story) • Types of SFX • Stylized vs realistic • Software / library / equipment needs • Layering/layout • Delivery of SFX for mix
51:41 Foley: Relation to GOAL (story) • Role of Foley in film • Differentiating Foley from SFX • Budgetary constraints • Equipment needs • Delivery of Foley for mix
58:38 Before you mix, consider the following…: 1. Different platforms have different specs (Y T, Netflix, Theatrical, broadcast) • 2. Stereo vs multichannel • 3. Importance of room calibration • 4. Importance of ear training/hearing
1:01:43 Dialogue Mixing: Relation to GOAL (story) • Reductive processes • Dynamics • Noise reduction • Reverb • Delivery of Foley for mix
1:07:04 Music Mixing: • Relation to GOAL (story) • EQ/Dynamics • Interaction with DX • Reverb • Usage in multichannel • Volume Levels • Director preferences
1:10:43 Sound Effects / Foley Mixing: • Relation to GOAL (story) • Reductive processes • EQ/Dynamics/Reverb • Interaction with DX/MX • Usage in multichannel • Volume levels (prog vs peak) • Director preferences
1:15:50 Final Mix – Balancing Everything: Meeting specs vs supporting goal • Handoffs between different elements of mix • Balancing excitement and consistency • Making director happy • Exports
1:22:02 Closing Thoughts: Your responsibilities as collaborator/multi-hat wearer • Traps/routines to avoid • How to improve on each project

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