Get Real!
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The Mix? Yeah, Right
Mixing a reality TV show is an exercise in the anticlimactic. The reality is, the show was mixed as it want along, with automated signal processing applied to sound elements tied to time code, and parts of dialog lines edited together and level-matched on the fly.
“The transition between [editing] and mixing is minimal,” says Fred Howard. “Most of this stuff is edited and mixed in the same environment and as part of the same process.”
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| Post Logic's Conner Moore |
An underlying question that gets asked on every reality post project is, has “good enough” become good enough? There is no shortage of complaints that reality television has lowered the standards bar, from a lack of elegant scripting to a willingness to let quick-cut camera moves act as a surrogate for narrative. Has this debasement infected the audio as well? Does it make sub-par audio more acceptable?
“My job is to make the audio as good as possible, however the condition it’s in when it arrives,” says Beuhlman. “But leaving in some of the grit that’s part of the production audio lends some authenticity to it. It’s not a matter of making bad audio acceptable but rather making it bearable.”
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