Premix · a Lemonwater serviceThe brain hears
what the eye forgives.
Audiences experience up to 70% of a film’s emotional impact through audio — not image. Premix restores your recordings so the work you made lands the way you intended. Built by a filmmaker for location mixers, picture editors, and documentary filmmakers. Download to keep files offline, or try the cloud intro.
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Premix is built by a filmmaker for location mixers, picture editors, and documentary filmmakers. Each channel is analyzed on its own. Automation is precise on purpose — so the cutting room can start sooner, with input that is ready for a festival pipeline.
To ease the load on the location sound mixer, Premix reports on content and recording characteristics. The automated sound report, and optional transcription, can inform live production and post — where attention to detail is what the final product depends on.
As the film industry changes and technology lowers the barrier to entry, software should serve the people making the work. Premix consolidates what used to be several expensive, overcomplicated modules into one workflow. Original tracks come back with the packet. If a channel is flagged, you can quote a custom edit — Lemonwater in-house.
It does not replace the mixer, the utility, the editor, or the re-recording mixer. The people already hired operate it. Let Lemonwater handle file prep so you can focus on shaping your vision.
You built something that deserves to be heard.
A documentary that could open a mind. Location sound that fought the room — HVAC hum, RF on the lav, the dropout at the moment she said the thing that mattered most. The story is extraordinary. The audio has to be able to carry it.
Degraded audio makes the listener work. Cognitive load goes up. Emotional access narrows. The message you made gets filtered through the noise — and only a fraction of it arrives. The tools to fix this exist. Using them well used to mean a post-house budget, or becoming a technician yourself.
Premix removes that barrier. Festival-spec input for the work you actually made, not the budget you had. You do not need to be sold to. You need this part handled — so you can stop white-knuckling the technical layer and get back to the work that made you start the project.
Quality audio is not a luxury. It is the difference between a message that lands and one that doesn’t.
Sound carries meaning the eye never could.
Documentary, field production, and location sound.
The filmmaker who spent three years in the field. The mixer who fought the room. The editor who inherited the drive. Day-one Premix is boom, lav, and multichannel BWF — not a separate mastering, meditation, or audiobook product. You don’t need to understand the pipeline. You need this part handled.
57 files. Two shoot days. Delivered overnight.
HVAC on the interiors. RF clipping on the exterior lavs. The mixer stayed on the job. Premix was the prep pipeline — not a substitute for a dialogue editor or a re-recording mixer.
Read the case study →The process
Queue, Refine, Lock, Run, Channel — same job on the cart and in the cloud. Cloud: pay, set faders, click Upload. Download on Channel.
- QueueAdd files. GB and compatibility update as you add them. Local: Source and Output on the cart.
- RefineClusters, three dials, Premix optimize. Cloud: Upload.
- LockFiles are sealed. Choose how the packet leaves.
- RunRepair. Packet and report.
- ChannelDownload labeled ISOs, originals, and the report. Cloud: 7 days.
On the cart,
or in the cloud.
Mixer License is $590 one-time for a named operator — files stay on the machine. Cloud intro is $49 flat for any clip up to ~5.9 GB, then $9.55/GB, so you can try the packet before you buy the license.
Restore the signal.
Release the work.
You do not need to be sold to. You need this part handled. We don’t just clean audio. We restore its capacity to move people.