Broadcast News
26/04/2019
Marcelo Cyro Deploys NUGEN Audio's NUGEN Post Bundle
As a sound designer, re-recording mixer and partner at Panela Productions, Marcelo Cyro takes pride in telling stories with sound.
When Cyro and his team were given the task of mixing Netflix's Super Drags, the first show in South America to use Dolby Atmos, he turned to NUGEN Audio's NUGEN Post bundle to control the consistency of the mix.
As the first show made using Dolby Atmos in South America, Cyro was presented with some unique mixing challenges. "Mixing in Dolby Atmos for broadcast within the loudness parameters was challenging because we needed to not only learn how to use the new technology but to use it within Netflix’s specifications of an original production," said Cyro. "After trying so many things, I found the solution within NUGEN’s ISL True Peak limiter. After using it, my mix just worked without having any other issues. It allowed me to take care of the sound and to help the story without worrying if it is in -10 dB True Peak."
Cyro believes that every mix has its challenges and it is important to figure out the technical specifications before mixing to alleviate problems and focus on being creative. He likes to take into consideration the way sound will be used to enhance the story and the importance of the sound. As a re-recording mixer, he is responsible for focusing on the quality of the sound while also controlling what the audience feels or hears.
"The ISL True Peak limiter is a significant part of my mix," added Cyro. "I use it in my auxes (effects, foleys, dialog and music) to avoid peaks and protect the speakers. What is great about ISL is that you don't lose the low end like you do with so many other compressors. It's also very fast when you have a huge transient effect. It is necessary to use loudness/True Peak parameters in Dolby Atmos and I use it on every object. It does a really good job."
When Cyro and his team were given the task of mixing Netflix's Super Drags, the first show in South America to use Dolby Atmos, he turned to NUGEN Audio's NUGEN Post bundle to control the consistency of the mix.
As the first show made using Dolby Atmos in South America, Cyro was presented with some unique mixing challenges. "Mixing in Dolby Atmos for broadcast within the loudness parameters was challenging because we needed to not only learn how to use the new technology but to use it within Netflix’s specifications of an original production," said Cyro. "After trying so many things, I found the solution within NUGEN’s ISL True Peak limiter. After using it, my mix just worked without having any other issues. It allowed me to take care of the sound and to help the story without worrying if it is in -10 dB True Peak."
Cyro believes that every mix has its challenges and it is important to figure out the technical specifications before mixing to alleviate problems and focus on being creative. He likes to take into consideration the way sound will be used to enhance the story and the importance of the sound. As a re-recording mixer, he is responsible for focusing on the quality of the sound while also controlling what the audience feels or hears.
"The ISL True Peak limiter is a significant part of my mix," added Cyro. "I use it in my auxes (effects, foleys, dialog and music) to avoid peaks and protect the speakers. What is great about ISL is that you don't lose the low end like you do with so many other compressors. It's also very fast when you have a huge transient effect. It is necessary to use loudness/True Peak parameters in Dolby Atmos and I use it on every object. It does a really good job."
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