Tag Archives: audio mastering

Cinelab London adds sound mastering supervisor and colorist

Cinelab London, which provides a wide range of film and digital restoration services, has added two new creatives to its staff — sound mastering supervisor Jason Stevens and senior colorist Mike David.

Stevens brings with him over 20 years of experience in sound and film archive restoration. Prior to his new role, he was part of the archive and restoration team at Pinewood Studios. Having worked there his whole career, Stevens’ worked on many big films, including the recent Yesterday, Rocketman and Judy. His clients have included the BFI, Arrow Films, Studio Canal and Fabulous Films.

During his career, Stevens has also been involved in short films, commercials and broadcast documentaries, recently completing a three-year project for Adam Matthew, the award-winning digital publisher of unique primary source collections from archives around the world.

“We have seen Jason’s enviable skills and talents put to their best use over the six years we have worked together,” says Adrian Bull, co-founder and CEO of Cinelab London. “Now we’re thrilled to have him join our growing in-house team. Talents like Jason’s are rare. He brings a wealth of creative and technical knowledge, so we feel lucky to be able to welcome him to our film family.”

Colorist Mike Davis also joins from Pinewood Studios (following its recent closure) where he spent five years grading feature films and episodic TV productions and specializing in archive and restoration. He has graded over 100 restoration titles for clients such as BFI, Studio Canal and Arrow Films on projects such as A Fish Called Wanda, Rita, Sue & Bob Too and Waterworld.

Davis has worked with the world’s leading DPs, handling dailies and grading major feature films including Mission Impossible, Star Wars: Rogue One and Annihilation. He enjoys working on a variety of content including short films, commercials, broadcast documentaries and Independent DI projects. He recently worked on Adewale Akinnuoye-Agbaje’s Farming, which won Best British Film at the Edinburgh Film Festival in June.

Davis started his career at Ascent Media, assisting on film rushes, learning how to grade and operate equipment. By 2010, he segued into production, spending time on set and on location working on stereoscopic 3D projects and operating 3D rigs. Returning to grading film and TV at Company 3, Davis then strengthened his talents working in long format film at Pinewood Studios.

Main Image: (L-R) Stevens and Davis

Quick Chat: AI-based audio mastering

Antoine Rotondo is an audio engineer by trade who has been in the business for the past 17 years. Throughout his career he’s worked in audio across music, film and broadcast, focusing on sound reproduction. After completing college studies in sound design, undergraduate studies in music and music technology, as well as graduate studies in sound recording at McGill University in Montreal, Rotondo went on to work in recording, mixing, producing and mastering.

He is currently an audio engineer at Landr.com, which has released Landr Audio Mastering for Video, which provides professional video editors with AI-based audio mastering capabilities in Adobe Premiere Pro CC.

As an audio engineer how do you feel about AI tools to shortcut the mastering process?
Well first, there’s a myth about how AI and machines can’t possibly make valid decisions in the creative process in a consistent way. There’s actually a huge intersection between artistic intentions and technical solutions where we find many patterns, where people tend to agree and go about things very similarly, often unknowingly. We’ve been building technology around that.

Truth be told there are many tasks in audio mastering that are repetitive and that people don’t necessarily like spending a lot of time on, tasks such as leveling dialogue, music and background elements across multiple segments, or dealing with noise. Everyone’s job gets easier when those tasks become automated.

I see innovation in AI-driven audio mastering as a way to make creators more productive and efficient — not to replace them. It’s now more accessible than ever for amateur and aspiring producers and musicians to learn about mastering and have the resources to professionally polish their work. I think the same will apply to videographers.

What’s the key to making video content sound great?
Great sound quality is effortless and sounds as natural as possible. It’s about creating an experience that keeps the viewer engaged and entertained. It’s also about great communication — delivering a message to your audience and even conveying your artistic vision — all this to impact your audience in the way you intended.

More specifically, audio shouldn’t unintentionally sound muffled, distorted, noisy or erratic. Dialogue and music should shine through. Viewers should never need to change the volume or rewind the content to play something back during the program.

When are the times you’d want to hire an audio mastering engineer and when are the times that projects could solely use an AI-engine for audio mastering?
Mastering engineers are especially important for extremely intricate artistic projects that require direct communication with a producer or artist, including long-form narrative, feature films, television series and also TV commercials. Any project with conceptual sound design will almost always require an engineer to perfect the final master.

Users can truly benefit from AI-driven mastering in short form, non-fiction projects that require clean dialog, reduced background noise and overall leveling. Quick turnaround projects can also use AI mastering to elevate the audio to a more professional level even, when deadlines are tight. AI mastering can now insert itself in the offline creation process, where multiple revisions of a project are sent back and forth, making great sound accessible throughout the entire production cycle.

The other thing to consider is that AI mastering is a great option for video editors who don’t have technical audio expertise themselves, and where lower budgets translate into them having to work on their own. These editors could purchase purpose-built mastering plugins, but they don’t necessarily have the time to learn how to really take advantage of these tools. And even if they did have the time, some would prefer to focus more on all the other aspects of the work that they have to juggle.