The Magic Of The Final Sound Mix… Impact50 Gets a MASSIVE acoustic makeover


The Magic Of The Final Sound Mix… Impact50 Gets a MASSIVE acoustic makeover

The final sound mix is like the creative climax of the filmmaking process.

It’s where EVERY idea finally works. Every problem is resolved, for worse or (usually( better. And it really feels, for the very first time in the process, that you have made a feature film.

It’s pretty godamn euphoric.

Impact50 is no different. I have spent years on this film and only today does it finally feel like EVERYTHING has clicked.

There’s a good reason too. My old buddy, screenwriter and sound guru, Guy Rowland very kindly agreed to undertake the massive job of doing the final mix for Impact50.

He’s been adding missing effects, building more consistent atmospheres, augmenting music, expanding dynamic range and depth, but most excitingly, plain and simple, just making it sound like a MASSIVE MOVIE!

I cried out loud in the first ten seconds as finally, I knew we had done it. BRAVO!

In the detail of the acoustic experience I can hear so many things Guy has done.

  • Using reverb to make scenes overlap better
  • Deep sub woofer rumbling bass for emotional impact
  • Noise gates on less than brilliantly recorded dialogue
  • Music enhancement to bring the feel of the whole into a more consistent vision
  • Unified asteroid impact sounds to keep the story tied together in a single universe
  • Countless spot effects and tweaks
  • Dramatic acoustic rises to emphasise the end of scenes
  • Prepping for our 5.1 mix (which will be a bit of a hack but should work great!)

And SOOOO much more.

It’s sill not finished of course, I am just doing my notes for the very final pass of the sound before we make the DCP next week. And Guy has promised to do a post for us on what he has done and the greatest challenges he faced.

It’s ALL super exciting to see and hear on HUGE speakers, and a reminder that we have collectively made an extraordinary feature film that MUST be seen in a theatre.

To that end, it’s coming up to just 40 days to the premiere… and the biggest screen and sound system we could muster in London. May 31st… Tickets here…

Chris Jones

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