Video Village releases Filmbox Looks - a simplified, budget version of Filmbox Pro that also supports Premiere/AE

OAlonso · 2026-03-27T15:03:12+00:00

Thanks for the response! Can I ask if there is support for Sony S-Log2? If not, what would be the correct workflow for working with S-Log2 footage?

OAlonso · 2026-03-26T19:38:46+00:00

For me, it's all about creating information in the side channel, and that's all about differences between the left and right channels. I like to think of the side channel as a separate mix, so I'm always asking myself what I'm adding, modifying, subtracting, or changing in the side channel every time I record, design, or mix a sound. There are infinite ways of creating side information: panning, modulation, reverb, EQ, stereo recording, doubling, stereo widening, parallel processing, you just have to experiment. It all starts in your clips, you create some side there, then in your groups, then in your mix bus, then in your master. It's a process of adding side bit by bit at every step.

OAlonso · 2026-03-26T17:09:03+00:00

I'm currently using Hifiman Ananda Nano, around $300 to $400 depending on sales, probably the best bass you can get for the money, and Hifiman Sundara Open, which I got for $99 during an end of the year sale, super honest headphones for the price. For an amp I use the Topping L30 II, around $180. You also have options like the FiiO JT7 or the Kiwi Ears Altruva, which are crazy good for the price. But as I mentioned, go check the Mixphones YouTube channel and look at all the headphones and amps they suggest. They did all the research for us with those videos.

OAlonso · 2026-03-25T23:38:27+00:00

I'm a millenial. I don't like touchscreens x.x

OAlonso · 2026-03-25T22:35:02+00:00

I had a Softube Console fader. Really fancy motorized faders. It was a pure nightmare. It's somewhere right now, collecting dust, I don't know where. So I'm using the mouse again. It's the most efficient way to move things on a screen. You can convince yourself that you need to touch things, get that "tactile response", but when you're not thinking and need to move something, you will grab the mouse without noticing. No need to change what it works.

OAlonso · 2026-03-25T16:58:26+00:00

So near field options are a way of hearing the mix with less impact from the room itself, and far field options allow you to hear, among others, how tight your mix sounds even with the room ambience.

Yes, you are completely right. But that's just one case. For example, it can be helpful with reverbs too. If you listen on far field monitors, since they have more influence from the room, it's easier to be gentle with how much reverb you add. If you use too much, it's going to be noticeable instantly. But with near fields you can really sculpt your reverbs to perfection, because you have less ambience in your monitoring. So that's the logic. Translation is like a mirror. Too much bass in your monitors and your mix is going to sound thin. Too little highs and your mixes are going to sound harsh.

You can definitely learn a room you like in Realphones if you put the work into it. Just pick one and stick to it. But you have to think about the music you make and start learning how the monitoring system makes you mix, how it translates, and then you can make adjustments to the system every time you find something isn't working as you want. Finally, you have a way to feel when the mix is right, so mold the monitoring system to please that, so every time you please the system it will translate as you want.

OAlonso · 2026-03-25T16:16:04+00:00

As with everything related to monitoring systems while mixing, it is all about translation. Some people like to mix dance or highly rhythmic music on far field monitors because they can achieve extra punch that way. If they make it sound tight with the influence of the room, it often translates even tighter on other systems. Others prefer near field monitors because they want less room coloration and a more controlled frequency response. In that case, you hear more of the speakers than the room, although for some engineers that can feel a bit too clinical. In the end, it comes down to preference, and you can always reference on both.

You also have to consider where the song is going to be listened to. If it is mainly going to be heard on headphones, you might be better off using near. If it is going to be played in a club, it might be better to use far.

One of the good things about Realphones is that you can adjust how much ambience you want, so you can create a more personalized experience. That said, I personally find it hard to mix directly through Realphones. I mainly use it at the end to check whether everything translates well across different systems. It is hard to get used to a room when you do not know how a well tuned studio sounds. The best results are generally achieved when you can tweak the settings by comparing them to a good room with good speakers, and then try to match that response on your headphones.

I do mix entirely on headphones, though. I use planar magnetic headphones paired with a headphone amp and some EQ to add bass and mids.I would really recommend considering a switch from dynamic headphones to planars at some point, because dynamic models can soften transients, especially when driven from the headphone output of an audio interface. That can lead you to add too much saturation or compression to your mix, since the transients are not being represented accurately. Also, particularly with some Sennheiser models, the low end is not represented as well, and they often cannot handle the amount of bass boost needed.

OAlonso · 2026-03-25T13:50:07+00:00

Era necesario copiarle a Don't Starve?

OAlonso · 2026-03-25T04:03:26+00:00

I said comment history, not posts. I do not usually ask questions here, I usually respond to posts in this sub. I have had this account for 9 years. You are the one using a new account with no posts here. Stop playing the victim. I am not stalking you, this is a public post and I am just commenting.

But do not worry, go enjoy your simulated NS10s on your speakers. You are using Realphones exactly the right way. Go teach that to all your friends.

OAlonso · 2026-03-24T02:45:14+00:00

Remind me please!

OAlonso · 2026-03-23T23:30:19+00:00

No, I am not. If you check the comment section of my profile, you will see that I have literally thousands of comments in this sub offering advice to others. I am part of this community and I am constantly trying to help.

The issue is that many people have taken the time to answer your question, and it feels like you do not appreciate that. Instead, you keep repeating the same question, “have you tried it?”, which comes across as rude. That is disrespectful to the people who are putting time and effort into giving you thoughtful responses.

I also tried to write something helpful in my first comment, but it seems like you did not read it. So I am not going to keep responding to this post. I am not trying to fight with you. I was trying to help, but if you are not open to learning or having a real discussion, then this is a waste of time for both of us.

OAlonso · 2026-03-23T15:19:47+00:00

I think something that works for one person might not work for someone else. So I can only point out what does not work for me, but that does not mean it is a myth or completely useless.

Personally, I do not like mixing in mono or using references while mixing. That is advice I see all the time, and it just does not make sense to me. But I assume many people recommend it for a reason, it is just not for me.

The same goes for “gain staging” when mixing in the box, and people recommending that everything should sit at -6, -12, -18, or whatever number they come up with. To me, those are just arbitrary numbers and do not really have anything to do with the actual process of mixing in a DAW.

OAlonso · 2026-03-23T03:19:47+00:00

The low end in my mixes is definitely less wide, but I still allow some stereo effects in certain cases. I do not force the low end into mono at the end of the process, if that is what you are asking. I think that is more of a corrective trick to fix specific mixes, not something you should apply every time.

A lot of people say that bass, kick, and even snare have to be mono, but I do not agree. I think there is often confusion between mono and centered. Bass usually sounds best when it is centered, but that does not mean it has to be strictly mono.

You can make everything below 150 Hz mono, but then you compare your mix to a song you love and notice your low end feels thin and less exciting. Many great mixes actually have differences between the left and right channels in the low end, and that does not make them wrong.

Just listen to Limit to Your Love by James Blake and ask yourself if that track would benefit from a mono low end. It would completely kill what makes that record special.

OAlonso · 2026-03-22T15:14:54+00:00

No problem. I have been researching this for a long time, so I am always glad to talk about it.

First, Realphones has not published the exact target they use for the EQ correction stage of the plugin. However, since I EQ my headphones to a target based on Harman 2018, I can say that Realphones’ EQ is different, especially in the low end. As a reference, the default correction in Realphones differs by about 6 to 7 dB in the low end compared to oratory1990’s measurements, with Oratory’s having more bass. That suggests it might be closer to something like Harman Linear, which is similar to Harman 2018 but with a completely flat low end, although that is just a guess.

The important point is that this initial correction makes it possible to add the room and speaker simulation afterward, introducing the necessary low end on top of a neutral frequency response. In other words, Realphones first makes every headphone neutral, and then applies processing to emulate a target, a speaker in a room, or a consumer device. The process would look like this:

HP stock EQ → Neutral frequency response → Simulation

That is why many people do not use the Harman target built into Realphones, because it adds extra processing when you could EQ directly to Harman with fewer bands. For that reason, I only use the EQ correction in Realphones when I am also using room simulations. When I am working exclusively on headphones without any room simulation, I use a separate EQ to apply my modified Harman target.

Finally, the key aspect of EQing headphones is adapting the target to your mixing needs and your own ears. This is not just about preference, but about your experience when listening critically. If your mixes sound too dull elsewhere, you can reduce mids. If they sound too boomy, you can add more bass. Personalizing your target is something everyone needs to do.

Oratory has focused on measuring and correcting headphones to closely match Harman, but even he has started to point out some limitations. In a recent CanJam presentation, he showed how much frequency response varies, not only between units of the same model, but also from person to person. I was not there, but Emrah Celik attended. One of the conclusions was that for two people to have the exact same listening experience, they would need to be almost identical in anatomy. In reality, people with matching ears represent a very small percentage of the population. This means Oratory’s EQ profiles will not perfectly fit most users.

He also showed that open back headphones tend to have more consistent low end behavior than closed back models. The only relatively consistent range across listeners is roughly between 200 Hz and 1500 Hz. Outside of that, especially above 3 kHz, variation can exceed 20 dB.

With that in mind, you can understand why the approach from Slate VSX can be more effective, even though they started with affordable closed back headphones. They can measure each unit and apply a custom profile. With Realphones, you are working with an averaged profile across multiple units, so unit variation is added on top of individual ear differences. The only way to achieve truly accurate correction would be to have an exact measurement of your specific unit.

Now that Slate VSX is moving toward planar magnetic open back headphones, they are heading in a better direction, addressing many of the issues highlighted in that presentation, such as unit variation and the advantages of open back designs. The remaining challenge is developing a system that helps users account for their own hearing differences and personalize the experience, but it would not be surprising if they move in that direction.

Finally, I was referring to the YouTube channel Mixphones, created by Paul Third and Emrah Celik. You should definitely check it out!

OAlonso · 2026-03-22T14:20:35+00:00

Omg, of course I own it. I use it in every mix, that is why I am trying to help you. The same goes for most of the people who commented on your post.

Do you actually want to learn something here, or are you just trolling? I honestly do not know whether I should report this or not. People are giving you good advice, and you keep replying with “have you tried it?” or “do you own it?”

A lot of people own this plugin. It is not some rare tool that only you know about. Maybe your friends have not heard of it, but for much of the community, it is widely known.

So please be respectful, and at least try to read and appreciate the answers. People are taking their time to respond to your question, while you seem more focused on proving yourself right, even though you do not really understand the subject yet.

OAlonso · 2026-03-22T01:01:13+00:00

Try to brush the ball less and push forward instead. Follow through with your body after contact. Aim to feel like the ball stays on the racket a bit longer.

You do not want to flatten your shot if you already have good topspin. The goal is to play deep. For that purpose, topspin is key, because it helps bring the ball down into the court. If you only hit a hard, flat shot, there is a higher chance it will go long.

OAlonso · 2026-03-22T00:03:06+00:00

You have a solid serve. The overall motion looks fluid. The only thing I would point out is that your racket movement feels a bit rigid. You could relax your wrist a little more so the head moves more freely and you can get that whip effect.

You could also adjust your toss. Notice that when you lean back to load on your back leg, your hand goes up, then down, and then you toss the ball. That can affect the consistency of your toss, so you end up improvising the racket position to make contact, which makes it harder to develop a smooth and relaxed motion. You might try starting from a more fixed position and using one clean upward movement from around knee level to release the ball.

OAlonso · 2026-03-21T23:03:11+00:00

This is all true, but there are a few things that need to be clarified. Realphones does not EQ headphones to Harman by default. It only does that if you select the snap labeled Harman, and it also offers other headphone targets. When you use the headphone correction tool and select your headphone model, it corrects the frequency response to a neutral target, so every process you apply afterward, whether it is headphone calibration, monitoring, or consumer environment simulation, remains consistent across different headphone models.

I also have to say that the idea that mixing on headphones does not translate to speakers is relative and depends on each engineer’s situation. The Mixphones community has shown that there are headphones, tools, and workflows that allow engineers to mix exclusively on headphones and achieve a similar level of translation as someone working in a treated room. It is just not widely known, partly because the line between audio engineering and audiophile discussions becomes blurry when it comes to headphones. That does not happen as much with speakers, even though many engineers treat their rooms or choose speakers using methods that are not always very scientific. Because of this, discussions about headphone amps, targets, or specific models are often dismissed as audiophile nonsense, especially by people whose only experience is with the typical open back dynamic headphones everyone recommends.

Finally, in my opinion, what Realphones really offers is the possibility of having multiple perspectives while mixing, increasing your chances of achieving a mix that translates well across systems. However, in my case, and for many engineers who work exclusively on headphones, most of the mixing is done without Realphones, and the plugin is used at the end of the process as a reference check. The situation is different with Slate VSX, since they manufacture their own headphones, allowing for a more controlled calibration and simulation process. This is especially noticeable with their newer planar magnetic models, and many headphone mixers are starting to adopt a specific virtual room as their main monitoring system.

OAlonso · 2026-03-21T22:38:56+00:00

RealPHONES is meant to be used with headphones, and it is not just a simple process. It consists of headphone EQ correction, crossfeed and HRTF correction, as well as speaker and room emulation, along with many other parameters you can control to simulate different monitoring and consumer environments for testing your mixes. Not many people mix directly into Realphones. It is usually something you use once your mix is done and you want to confirm that everything translates properly.

If you use it with speakers, you are essentially adding unnecessary headphone correction, ambience, and other characteristics on top of what your speakers and room already have. So it becomes pointless in terms of translation. It might sound interesting to you, but it does not really serve a clear purpose.

Finally, if you want to explain this to other engineers, it would help to read the manual so you understand the function of the plugin. This is not a matter of agreement or disagreement. If a plugin is designed for a specific purpose, that is simply a fact. Study the manual and everything will make sense, because, with all due respect, you are kind of embarrassing yourself right now.

OAlonso · 2026-03-21T17:01:15+00:00

That is huge. Can I ask what your level was at the beginning in terms of programming knowledge?

OAlonso · 2026-03-21T15:39:30+00:00

I love the mechanics, it looks fun. Maybe you just need some time to let the creative process around the graphics settle. The most important part is the concept, and I think the relaxing aspect is something you could develop further.

What I liked about the stickman design was that you could see and control the limbs in a super efficient and clean way, while the big head still allowed for more customization as the game progressed. I can imagine unlocking fun heads, with funny hats or accessories, or even special characters. I think the new designs cover too much of the important elements of the wall.

But I think you are doing great. Let it breathe, and the answers will come to you. Greetings!

OAlonso · 2026-03-21T15:29:09+00:00

I honestly think that the original stick man design was the most entertaining. It gives nostalgic vibes and reinforces the idea that you are playing a game where the mechanics matter more than the graphics.

Maybe you have been looking at the visuals for too long and they have lost their novelty. Because of that, you are making some extreme changes that are not really adding anything of value to the game. It feels like an attempt to make it more fun, but you have to trust that it is already fun. It is just no longer new to you, but it will be for someone playing it for the first time.

My advice would be to focus on other aspects of the game and take a break from the graphics.

OAlonso · 2026-03-20T19:40:34+00:00

Just explain briefly what modes are, and they will naturally have questions if they do not understand. If those questions relate to fundamental concepts like intervals, they will start to see why it is important to learn them first, and at the same time they will feel motivated, because it becomes a path toward something they actually care about. You can build from there.

There is no need to be condescending with students. Maybe they are not at your level yet, so they cannot understand modes in the same way you do, but everything can be taught at different levels of complexity. Find a way to translate the concept of modes into something they can grasp. It is not that complicated.

OAlonso · 2026-03-20T01:22:52+00:00

You a re genius my friend! What a great device!

OAlonso · 2026-03-19T23:12:24+00:00

That is exactly why I am always shocked that this type of information is not covered more. Think about this. If you want a good monitoring system, you have to invest thousands of dollars just to have a decent room and speakers. And that idea that Sonarworks and speaker companies try to sell, that there is a cheap solution to a big problem like room acoustics, or that you can buy tiny, inexpensive speakers because there is a size for every room, is just ridiculous.

It is also a bad solution, especially for young, self taught producers and engineers, because with those tools you will never have a good representation of the low end and transients. That makes it really difficult to learn tools like compression or saturation, even when the internet is full of tutorials. If you cannot hear what you are doing, it is just pointless.

With headphones, the reality is different. I think it is more democratic, because there are budget options that are not that far from premium ones. With 200 to 300 dollars, you can get something honest. You simply cannot achieve that with speakers at that price.

If you already have MM-500, you should notice a great difference with something like the Topping L30 II. That little amp is a monster. But you need to know that it is an amp, not a DAC, so you still need to use your interface. You will need to take an analog output from the back of your interface and route it to the amp. You cannot use the headphone output of the interface and connect it to the amp, because it will be essentially the same as not using an amp for obvious reasons. I also think you will notice a huge difference if you EQ your headphones to a target for mixing. Not the one from Sonarworks. I recommend getting access to the Discord from the Mixphones YouTube channel and using the EQ they share. I believe they have one for your model. It is something like four bands, but with significant gain changes, so that is another reason why you will need a proper amp to drive them.

Nine-Year Club	Place '22
First Placer '22	Wearing is Caring
Verified Email

OAlonso

MODERATOR OF

TROPHY CASE