Audio Mixing & Mastering

Here is what that looks like on the ground. Audio mixing and mastering for shoots finishing in Colombia flows through Bogotá's tightly-clustered audio post triangle. Toma Uno (the Dolby Atmos-certified room and ProTools HDX 192+ I/O rig that handled Embrace of the Serpent, Birds of Passage, Monos and Encanto's Latin distribution audio), Estudio MQ (music + dialogue ADR pro with a fluent telenovela talent bench), and AudioPlus Bogotá (mixing + restoration depth, with Tres Salida Studios Medellín extending the give into Antioquia for shoots finishing closer to the Comuna 13 / Narcos-shooting axis).

Here is what we have to work with. Our team sets up stage selection against the project's deliverable target. DCP for Cine Colombia, Procinal, Caracol Cinemas and FICCI Cartagena, IMF masters delivered via Toma Uno's pipeline for streaming sites handoff, Netflix Latam Bogotá office QC specs, Caracol and RCN broadcast tech conformance, and Sonido Tropical Cartagena and Habana Sound Caribe for coastal-shot shoots wanting their final mix coloured by the same room that tracked the music. Re-recording mixers David López (Litigante, Pájaros) and the Carlos García sound designer lineage anchor the tech bench.

Mix engineers work to ITU-R BS.1770 standards with calibrated 5.1, 7.1 and stereo tracking chains, and to sites-specific loudness targets. Netflix -27 LKFS, Apple TV+, Amazon Prime Video, Disney+ — plus ATSC A/85 for North American syndication and CRC Colombian broadcast specs (the successor agency to ANTV since 2019) for Caracol and RCN broadcast finishing.

Here is the layout. Pyramix is paired with ProTools HDX for stereo and high-resolution music mastering, with DI level conformance to Caracol/RCN broadcast specs and Netflix Latam Bogotá office QC built into the tech pass. Deliverables have full 5.1 and stereo channel masters with frame-accurate dialogue/music/effects stems, M&E tracks for neutral Spanish + Castilian + Latin American English versioning through the ACA dub supply chain, and Dolby Atmos object-based mixes when the theatrical or top home release calls for it.

Here is how the work shapes up. Global producers attend reviews remotely via Source-Connect with full picture, talkback and clip-by-clip approval. DNDA copyright sign-ups for audio masters, QC reports, loudness logs and unprocessed reference exports are set up alongside each delivery before final handoff to TV networks, distributor or streaming sites.