Supervising Sound Editor
Supervising Sound Editors are Heads of Department, responsible for all sound post production. They are the Director's main point of contact for everything concerning film soundtracks. They must have a good grounding in dialogue recording, ADR (Automated Dialogue Replacement), Foley (post-synchronised sound effects), and sound effects or music editing.
They should be able to make accurate informed notes and comments based on films' creative sound requirements while always keeping the Director's vision in mind. This is both a managerial and a hands-on job. The majority of Supervising Sound Editors also work as Sound Designers on the same film. They can be employed by Audio Post Production Facilities Houses, or work on a freelance basis and dry-hire a room close to the picture Editor(s), providing their own Digital Audio Workstations. Supervising Sound Editors work long hours under considerable pressure.
What is the job?
Supervising Sound Editors' role varies according to the budget and scale of each film. On low to medium budget films they begin work when the picture Editor has achieved picture lock (the Director and/or Executive Producer have given final approval of the picture edit) and take a more hands-on role often cutting dialogue, ADR, Foleys and special effects; on big budget films, they usually start work before shooting begins and appoint specialist Sound Editors to supervise separate teams for each area of work.
They are responsible for the sound budget, organising the work flow according to the Delivery Schedule and making plans for any special circumstances or requirements, e.g., amount of CGI (Computer Generated Images), different recording formats, additional recording/gathering, mixed frame rates, etc.
After picture lock, Supervising Sound Editors attend a "Spotting Session" with the Director and other Sound Editors during which they discuss any concepts for the overall feel of the sound (naturalistic or stylised), and check every sound effect and line of dialogue to see what ADR or Foleys may be needed.
There follows a concentrated period of work during which Supervising Sound Editors oversee the recording of fresh dialogue by the actors, Foleys by Foley Artists, sound effects (which they may create in their capacity as Sound Designers) and sometimes the music, all of which are track-laid (the ordering and placement of different audio tracks) and assembled for subsequent temporary mixes for preview screenings.
After audience previews, the Producer(s) and financiers usually require films to be re-cut and further mixes to be undertaken many times before the Pre-Mix of the film, where all sound inconsistencies are smoothed out (cross faded). Subsequently, Supervising Sound Editors also ensure that the Final Mix runs smoothly, working closely with the Re-Recording Mixer.
This process can take between 2 and 12 weeks depending on the scale of the film. After the Final Mix, the Supervising Sound Editor usually oversees the "deliverables" - including the Music and Effects version of the film which allows the dialogue track to be replaced with different language versions.
Typical career routes
Supervising Sound Editors must have gained extensive experience by working in Sound Post Production over a number of years. They usually work their way up from being Runners in Audio Post Production Facilities Houses or Mixing Studios, progressing to assisting in picture or sound cutting rooms where they are often required to work on Dialogue, Special Effects, and Foley. Some Supervising Sound Editors may progress from television or music studios. They must be able to handle heavy work loads and work to tight deadlines.
Essential knowledge and skills
Supervising Sound Editors must have an excellent working understanding of acoustics, sound recording processes and electronics, and an expert knowledge of all post-production sound equipment, processes and procedures, both analogue and digital. They must also be able to use computer budgeting software.
Key Skills include:
Ability to manage and motivate a team
Excellent communication skills
Excellent aural skills
A methodical, organised approach to work
Ability to work under pressure to tight, changing deadlines
Precise attention to detail whilst also seeing the broader picture
Organisational and financial skills
Knowledge of the requirements of the relevant Health and Safety legislation and procedures
Training and qualifications
Supervising Sound Editors are usually graduates of Arts, Music, Electronics, Maths, or Sound Technology courses, who have also specialised in Sound at post-graduate level. Sound is one of the best served areas for film and television training in the UK with provision ranging from specialised short courses, to qualifications at HND, BA and post graduate levels.
Individual course accreditation in certain subject areas is currently being piloted. As part of Skillset's and the UK Film Council's Film Skills Strategy, A Bigger Future, a network of Screen Academies and a Film Business Academy have been approved as centres of excellence in education and training for film. For more information, please log onto the Skillset website.
Where to go for more information
Skillset is the Sector Skills Council for the Audio Visual Industries. The first sources of information for all jobs in the industry are the National Occupational Standards. For information about training, links to the Skillset network of training partners, and access to the comprehensive Skillset/BFI course database, visit the website www.skillset.org. Skillset Careers is the UK's only specialist media careers advice service; for detailed media careers information and advice, visit the website www.skillset.org/careers
Websites-
An invaluable resource for sound and film Film Sound
Sonic Arts Network sonic arts network
For innovations in sound recording technology zaxcom
The Institute of Broadcast Sound Institute of Broadcast Sound
The Association of Motion Picture Sound Association of Motion Picture Sound (AMPS)
The Association of Professional Recording Studios Association of Professional Recording Services (APRS)
The Audio Engineering Society, an US-based website with a thriving UK section Audio Engineering Society
Publications
Sound Design: The Expressive Power of Music, Voice and Sound Effects Cinema. Edited by David Sonnenschein (Michael Wiese Productions)
Film Sound by Elizabeth Weis and John Belton (Columbia University Press)
Audio-Vision : Sound on Screen by Michael Chion (Columbia University Press)
Sound on Sound magazine Sound on Sound
Music Tech magazine Music Tech Magazine
Audio Media magazine Audio Media Magazine
They should be able to make accurate informed notes and comments based on films' creative sound requirements while always keeping the Director's vision in mind. This is both a managerial and a hands-on job. The majority of Supervising Sound Editors also work as Sound Designers on the same film. They can be employed by Audio Post Production Facilities Houses, or work on a freelance basis and dry-hire a room close to the picture Editor(s), providing their own Digital Audio Workstations. Supervising Sound Editors work long hours under considerable pressure.
What is the job?
Supervising Sound Editors' role varies according to the budget and scale of each film. On low to medium budget films they begin work when the picture Editor has achieved picture lock (the Director and/or Executive Producer have given final approval of the picture edit) and take a more hands-on role often cutting dialogue, ADR, Foleys and special effects; on big budget films, they usually start work before shooting begins and appoint specialist Sound Editors to supervise separate teams for each area of work.
They are responsible for the sound budget, organising the work flow according to the Delivery Schedule and making plans for any special circumstances or requirements, e.g., amount of CGI (Computer Generated Images), different recording formats, additional recording/gathering, mixed frame rates, etc.
After picture lock, Supervising Sound Editors attend a "Spotting Session" with the Director and other Sound Editors during which they discuss any concepts for the overall feel of the sound (naturalistic or stylised), and check every sound effect and line of dialogue to see what ADR or Foleys may be needed.
There follows a concentrated period of work during which Supervising Sound Editors oversee the recording of fresh dialogue by the actors, Foleys by Foley Artists, sound effects (which they may create in their capacity as Sound Designers) and sometimes the music, all of which are track-laid (the ordering and placement of different audio tracks) and assembled for subsequent temporary mixes for preview screenings.
After audience previews, the Producer(s) and financiers usually require films to be re-cut and further mixes to be undertaken many times before the Pre-Mix of the film, where all sound inconsistencies are smoothed out (cross faded). Subsequently, Supervising Sound Editors also ensure that the Final Mix runs smoothly, working closely with the Re-Recording Mixer.
This process can take between 2 and 12 weeks depending on the scale of the film. After the Final Mix, the Supervising Sound Editor usually oversees the "deliverables" - including the Music and Effects version of the film which allows the dialogue track to be replaced with different language versions.
Typical career routes
Supervising Sound Editors must have gained extensive experience by working in Sound Post Production over a number of years. They usually work their way up from being Runners in Audio Post Production Facilities Houses or Mixing Studios, progressing to assisting in picture or sound cutting rooms where they are often required to work on Dialogue, Special Effects, and Foley. Some Supervising Sound Editors may progress from television or music studios. They must be able to handle heavy work loads and work to tight deadlines.
Essential knowledge and skills
Supervising Sound Editors must have an excellent working understanding of acoustics, sound recording processes and electronics, and an expert knowledge of all post-production sound equipment, processes and procedures, both analogue and digital. They must also be able to use computer budgeting software.
Key Skills include:
Ability to manage and motivate a team
Excellent communication skills
Excellent aural skills
A methodical, organised approach to work
Ability to work under pressure to tight, changing deadlines
Precise attention to detail whilst also seeing the broader picture
Organisational and financial skills
Knowledge of the requirements of the relevant Health and Safety legislation and procedures
Training and qualifications
Supervising Sound Editors are usually graduates of Arts, Music, Electronics, Maths, or Sound Technology courses, who have also specialised in Sound at post-graduate level. Sound is one of the best served areas for film and television training in the UK with provision ranging from specialised short courses, to qualifications at HND, BA and post graduate levels.
Individual course accreditation in certain subject areas is currently being piloted. As part of Skillset's and the UK Film Council's Film Skills Strategy, A Bigger Future, a network of Screen Academies and a Film Business Academy have been approved as centres of excellence in education and training for film. For more information, please log onto the Skillset website.
Where to go for more information
Skillset is the Sector Skills Council for the Audio Visual Industries. The first sources of information for all jobs in the industry are the National Occupational Standards. For information about training, links to the Skillset network of training partners, and access to the comprehensive Skillset/BFI course database, visit the website www.skillset.org. Skillset Careers is the UK's only specialist media careers advice service; for detailed media careers information and advice, visit the website www.skillset.org/careers
Websites-
An invaluable resource for sound and film Film Sound
Sonic Arts Network sonic arts network
For innovations in sound recording technology zaxcom
The Institute of Broadcast Sound Institute of Broadcast Sound
The Association of Motion Picture Sound Association of Motion Picture Sound (AMPS)
The Association of Professional Recording Studios Association of Professional Recording Services (APRS)
The Audio Engineering Society, an US-based website with a thriving UK section Audio Engineering Society
Publications
Sound Design: The Expressive Power of Music, Voice and Sound Effects Cinema. Edited by David Sonnenschein (Michael Wiese Productions)
Film Sound by Elizabeth Weis and John Belton (Columbia University Press)
Audio-Vision : Sound on Screen by Michael Chion (Columbia University Press)
Sound on Sound magazine Sound on Sound
Music Tech magazine Music Tech Magazine
Audio Media magazine Audio Media Magazine
