Sorry for derailing this thread, it wasn't my intent... I'll stop after this reply. Shan't be offended if anyone wants to delete...
I find that pre-mixing at reference level gives the best translation for when we final mix. That's all. I don't think I'm alone in that.
It's only the final mix that needs to be done in a certified room if you want a Dolby license (heck, I've seen people get away with pretty much just the Printmaster these days...) but that doesn't mean we don't *want* to be able to work at reference level prior/post that part of the process.
Besides, there is the ultimate gotcha: you cannot put the Dolby logo on your film unless the soundtrack is mixed at a Dolby certified room. That fact makes all other arguments mute.
I find that pre-mixing at reference level gives the best translation for when we final mix. That's all. I don't think I'm alone in that.
It's only the final mix that needs to be done in a certified room if you want a Dolby license (heck, I've seen people get away with pretty much just the Printmaster these days...) but that doesn't mean we don't *want* to be able to work at reference level prior/post that part of the process.
Not sure how to take this? Yes, films are edited. Both picture and sound get edited.How can there be an editorial process on a scripted film???