Definitive blend of all audio stems — dialog, music, and effects locked to picture in the target surround format for theatrical release.
Technical Details
The final mix is produced on calibrated mixing stages with defined listening conditions according to the ITU-R BS.1116 standard. Cinema mixes typically operate with an 85 dB SPL reference level with pink noise, while TV mixes are normalized to 78 dB SPL. Modern final mixes include multiple format deliveries: 7.1 SDDS for premium cinemas, 5.1 DTS/Dolby Digital for standard cinemas, near-field stereo mixes for laptops, and specially processed mono versions for aircraft cabins. The technical implementation is done using Pro Tools Ultimate or Avid S6 consoles with up to 64 fader modules.
History & Development
In 1927, Warner Bros. introduced the first primitive final mix with "The Jazz Singer," where music and dialogue were synchronized on a Vitaphone record. In 1940, Disney established the first multi-channel system, "Fantasound," with separate final mixes for three front channels for "Fantasia." The breakthrough came in 1977 with "Star Wars," where Ben Burtt created the first computer-assisted final mixes using 70mm 6-track masters. Since 2012, Dolby Atmos has enabled object-based final mixes instead of channel-based systems.
Practical Application in Film
Christopher Nolan's "Dunkirk" (2017) utilized separate final mixes for IMAX 70mm (6-track), standard 35mm (Dolby 7.1), and home theater versions with different dynamic ranges. "Mad Max: Fury Road" created 27 different final mixes for global cinema formats. The workflow begins with pre-mixing the dialogue, music, and effects stems, followed by final balancing on the dubbing stage. Typical final mixing sessions last 5-15 days, with action films like Marvel productions requiring up to 30 mixing days.
Comparison & Alternatives
The final mix differs from a temp mix through calibrated listening conditions and final loudness levels. Pre-mixes merely prepare stems, while the final mix combines them into deliverable masters. Near-field monitoring on Genelec 1032A deviates from far-field monitoring on cinema speakers like JBL 4675A. Streaming platforms today also demand special final mixes: Netflix requires -27 LUFS for dialogue-gated content, while Amazon Prime prefers -24 LUFS.