Is the pre-mixing absolutely necessary?

The topic of today’s discussion is about re-recording mixing for film and linear media. I came up with a relevant summary after speaking with some experienced re-recording mixers and drawing my own empirical conclusions.

The pre-mix, also known as the rough mix, is a stage of audio post-production where each category of sound editing, such as sound effects, ambience, music, foley, and dialogue, are repaired, adjusted, and balanced. I wanted to know from my more experienced colleagues if it was always necessary to pre-mixing before beginning the film mix.

This process dates back to the analog era and the early days of digital, when there were few audio tracks available and pre-mixed stems were used to save space for the final mix. Today there is no longer this material need, therefore, one less limitation.

But the answer is not so straightforward. Even though it is no longer a required step, if it is not completed ahead of time, it must be completed during the mixing process. I mean, the pre-mix is simply anticipating the fundamental processes of a final mix.

Instead of solving problems and controlling technical issues, it is easier to separate into distinct stages and leave the mixing time to create a universe and make art.

However, if the sound designer has already collaborated extensively with the director, the pre-mix allows the re-recording mixer to get a better sense of the project proposal and stay on track. On the other hand...

"I've seen a lot of mixing start from scratch, completely change the initial concept of sound, and arrive at a wonderful result," one of my colleagues said.

So, is it necessary or not? No, but depending on the project and the size of the session, it can be very useful.

Animation is without a doubt the most enjoyable genre of film in which to work with sound.

For starters, the fact that it's a playful universe allows for more daring than in realistic films. In a live action film, whether fiction or documentary, sound must be mostly invisible, so that the average moviegoer never discovers what happens in audio post production.

We work for hours solving problems, guiding the audience's attention, inserting sound into each every single event and editing everything heard in the theater, but few people know what we actually did.

In the animation our presence becomes clearer because there is no immediate connection with reality, so you quickly suspect that a team was behind that thinking, recording, creating, editing, mixing and supervising every step of the shoe, slipper, flip-flop; every car, big or small, gasoline or diesel; every bird from the Amazon, Canada, or the Savannah... But, deep down, it's all about the sound editor's ego, because what matters most is the immersion and emotion created.