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Post Sound Jobs POST SOUND JOBS MANAGEMENT-COORDINATION THE POST-PRODUCTION SUPERVISORS / ASSISTANT POST PRODUCTION SUPERVISOR Post Production Supervisors are responsible for the post production process, during which they maintain clarity of information and good channels of communication between the producer, editor, supervising sound editor, the facilities companies (such as film labs, CGI studios and negative cutters) and the production accountant. Although this is not a creative role, it is pivotal in ensuring that the film's post production budget is manageable and achievable, and that all deadlines are met. Because large amounts of money are involved, and most of a film's budget is spent during production, the post production period can often be difficult and challenging. The Post Production Supervisors' role can be stressful and requires ingenuity, empathy and the ability to make tough decisions under pressure, while working long hours, to tight deadlines. Some Post Production Supervisors may be involved on a number of films at one time, but usually work on 3 or 4 films a year. They are employed on a freelance basis, by the producer, often also with approval from a completion bond guarantee company. They usually work alone, but on larger productions may employ an assistant. What is the Job? The role of the Post Production Supervisor varies according to the type of film and the budget. On big budget films using complex CGI (Computer Generated Images), they start work during pre-production, liaising with the CGI Company and ensuring that the producer is aware of all the creative and budgetary considerations and how they may impact on the post production period. On smaller budget films they also advise about any limits that may need to be applied to the shoot, as well as providing an overall picture of what can be realistically achieved in post production. Most Post Production Supervisors also liaise with the editor and producer (and sometimes the director), about the hiring of post production personnel (sound editors, titles designers, mixers, etc). During the post production process, they work closely with the production accountant, supplying accurate information for the cost reports, which are prepared every 3-4 weeks and show how actual expenditure compared to the original budget. Post Production Supervisors work with the editor, supervising sound editor, and re-recording sound mixer throughout post production, making sure that each different stage of the process is delivered on time and within budget. They usually continue to work on the production until all the elements needed for the completion of the film are delivered, including the music and effects version which allows the dialogue track to be replaced with different languages. MUSIC SUPERVISOR The music supervisor works with the composer, mixers and editors to create and integrate the film's music. In Hollywood a music supervisor's primary responsibility is to act as liaison between the film production and the recording industry, negotiating the use rights for all source music used in a film. The music supervisor, or "music director", works with the composer, mixers and editors to create and integrate the film's music. In Hollywood, a music supervisor's primary responsibility is to act as liaison between the film production and the recording industry, negotiating the use rights for all source music used in a film. RECORDING FOLEY ARTIST Foley is the reproduction of everyday sounds for use in filmmaking. These reproduced sounds can be anything from the swishing of clothing and footsteps to squeaky doors and breaking glass. The best Foley art is so well integrated into a film that it goes unnoticed by the audience.[1] It helps to create a sense of reality within a scene. Without these crucial background noises, movies feel unnaturally quiet and uncomfortable. Foley artists look to recreate the realistic ambient sounds that the film portrays. The props and sets of a film do not react the same way acoustically as their real life counterparts.[1] Foley sounds are used to enhance the auditory experience of the movie. Foley can also be used to cover up unwanted sounds captured on the set of a movie during filming that might take away from the scene at hand, such as overflying airplanes or passing traffic. FOLEY RECORDIST Engineer responsible for recording Foley ACTOR –( AUTOMATIC DIALOGUE REPLACEMENT) ADR RECORDIST/ENGINEER Engineer responsible for recording ADR. COMPOSER The composer is responsible for writing the musical score for a film. Works with Director, Musicians, Music Supervisor. EDITING SOUND DESIGNER/ SUPERVISING SOUND EDITOR The sound designer, or supervising sound editor, is in charge of the post- production sound of a movie. Sometimes this may involve great creative license, and other times it may simply mean working with the director and editor to balance the sound to their liking. DIALOGUE EDITOR The dialogue editor is responsible for assembling and editing all the dialog in the soundtrack. The dialogue editor assembles, synchronises, and edits all the dialogue in a film or television production. Usually they will use the production tracks: the sound that was recorded on the set. They will smooth it out in terms of volume and equalisation. If any of the production tracks are unusable they can be replaced by either alternate production tracks recorded on set or by ADR, automated dialogue replacement, which is recorded after the shoot with the actors watching their performances in a sound studio and rerecording the lines. Large productions may have an ADR editor working under the dialogue editor, but the positions are often combined. The ADR editor or dialogue editor also work with the walla group in films which they are required, providing the background chatter noise in scenes with large crowds, such as parties or restaurants. Once the dialogue editor has completed the dialogue track, the re- recording mixer then mixes it with the music and sound effects tracks to produce the final soundtrack. SOUND FX EDITOR The sound editor is responsible for assembling and editing all the sound effects in the soundtrack. As the name implies, this position involves the creation and editing or piecing together sounds to make effects. The use of digital animation and digital compositing has increased dramatically in today's films. This trend has by default increased the need for Sound Effects Editors as well as Sound Designers. Although production audio is recorded during the filming of a movie, the real excitement of a film typically is created by additional sound effects and custom sounds that enhance the believability of the script. MUSIC EDITOR The music editor is a type of sound editor in film or other multimedia productions (e.g. video or games) responsible for compiling, editing, and syncing music during the production of a soundtrack. Among the music editor's roles is creating a "temp track", which is a "mock-up" of the film's soundtrack using pre-existing elements to use for editing, audience previews, and other purposes while the film's commissioned score is being composed. MIXING MIXING ENGINEER (DIALOGUE , MUSIC and SFX – D, M & E) The function of the mixing engineer is identical to that of the musical mixing engineer. The difference is that instead of multiple instrument tracks, in film there are usually a mix engineer for each major section of audio: Music, Sound Effects, and Dialogue. Working together during the final mix, these 3 engineers create the flow of audio while watching the workprint. RE-RECORDING MIXER The re-recording mixer balances all of the sounds prepared by the dialogue, music and effects editors, and finalizes the films audio track. A Re-Recording mixer is involved with all areas of the original production sound. They must assemble all elements of recorded sound to specific work prints or "stems." Often there are so many recorded elements during production that the re-recording mixer will "sub-mix" these elements making them easier to handle and keep track of. They will, as well, re-record additional elements if necessary prior to the final film mix. .
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