Perpetua was released with characters for the Greek alphabet and a matching set of titling capitals for headings. Perpetua is commonly used for covers and headings and also sometimes for body text it has been particularly popular in fine book printing. Perpetua was intended as a crisp, contemporary design not following any specific historic model, with a structure influenced by Gill's experience of carving lettering for monuments and memorials. Perpetua was commissioned at the request of Stanley Morison, an influential historian of printing and adviser to Monotype around 1925, at a time when Gill's reputation as a leading artist-craftsman was high. From experience the translation from my 5.1 setup to the big cinema speakers in the mixing theatre works very well.Perpetua is a serif typeface that was designed by English sculptor and stonemason Eric Gill for the British Monotype Corporation. I really like the immersive Dolby Atmos format as you get much more precision and can squeeze in lot more sounds, all quite naturally and without losing clarity, but mixing into Atmos is done by the re-recording mixers in the mixing theatre.
#Papetura cover software#
I am of course using Protools on Mac as my main system and I would say SoundMiner is the second most important piece of software that I am using.
Nowadays I track-lay using a 5.1 setup with Dynaudio speakers which I find super-precise – besides the fact that I really enjoy their sound, they are very helpful in revealing depth of field and perspective of the sounds which is crucial to me – I want to already get the distances and perspectives right in the sound editorial by using sounds or elements recorded with the right acoustics at the right distance so that the mixers don’t have to push the EQs and reverbs too hard but rather just give it a final touch and blend it with the rest. I started my career using a 2.1 Miller & Kreisel set-up, and I still love these speakers and use them for music listening. Which speakers, how many, Dolby Atmos configuration?) So, I suppose my days vary depending on which stage of the process we are in.Ĭan you share some technical aspects about your mixing studio? (Eg. Once we move into mixing, I send my stuff for premixing and then either attend the final mix or provide updates. Also, in case I am working within a team, we exchange and bounce ideas off one another and send each other work back and forth until it’s complete. Sometimes there are meetings and screenings during my day, and often the picture gets recut during this time, so I have to recut my tracks accordingly. Sometimes I haven’t got the right sounds available which means I’ll record it – that can be a simple thing that can happen immediately around the house, at other times it might require going out or even organising a more complex recording session.
I keep adding and removing sounds until I get the feeling that I’m after. I search my sound effects library through Soundminer, audition many, many tracks and bring them into Protools, cut them to picture and see if they work. I look at a scene, decide what sounds I want to cover, separate and imagine the sounds in my head and then go bit by bit.
#Papetura cover tv#
The basis of my job is creating sound effects and sound atmospheres for a film or a TV show, and it’s a process that takes a tremendous amount of time. Ideally, I like to spend most of my day creating, editing and recording sounds in and outside of my studio.