SAO PAOLO, APRIL 24, 2019 – 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,” says 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,” adds 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.”
Another NUGEN product that Cyro finds essential for his work is the VisLM loudness meter. “I start my mix with the dialog and use NUGEN’s VisLM,” says Cyro. “After treating the dialog with compression and EQ, I automate it and the VisLM allows me to very easily and quickly see where my mix is too loud or too soft. It is there where I set all my mixes. For longer programs, it is necessary to have a very good meter to not fool your ears after mixing for a long time and the VisLM fits this application perfectly.”
When he receives music in stereo for a project being mixed in surround, Cyro also uses NUGEN’s Halo Upmix to create a coherent spatial upmix from 2.0 to 5.1 or higher, allowing the music to sit nicely within a surround mix. Halo Downmix is also useful as it allows Cyro to fine-tune a reference mix for clients who may be listening to a surround project on stereo speakers.
“NUGEN is an incredibly helpful and welcome part of my workflow and my mix template,” says Cyro. “NUGEN’s plug-ins are very simple to use and it’s easy to see what’s going on and what sounds good. They are extremely transparent and intuitive, which is necessary for audio post production. Sound is so important for movies and television shows – we need to infuse meaningful sound into every project and with NUGEN onboard, I am able to successfully do that.”
Cyro has worked on a variety of animated children’s series for Discovery Kids, National Geographic Kids, Disney and PlayKids. He has also worked on feature films including, On Yoga – The Architecture of Peace, Oscar nominated animated film Boy and the World an Cható – The King of Brazil.
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