Sound Supervisor - TV
Sound Supervisors are usually studio-based or work on Outside Broadcasts (OBs), contributing to multi-camera light entertainment, current affairs or drama productions and all multi-camera programming. They are in charge of sound crews, which may include Grams (Gramophone) Operators, Sound Technicians, Boom Operators, and Technical Assistants. They may be employees of broadcasters or facilities companies, or they may work on a freelance basis.
What is the job?
Sound Supervisors liaise closely with Directors and other senior production and technical personnel during pre-production. They attend planning meetings to ascertain the sound requirements for each production, specifying crewing levels and equipment for the capture of optimum quality of recorded sound. They also plan post production and dubbing for each production. They may contribute to the choice of locations, explaining potential problems, e.g. proximity to busy roads or flight paths, and offering suitable solutions or alternatives.
Sound Supervisors oversee the work of all Sound personnel on multi-camera productions. During live programmes they are responsible for mixing sound sources for immediate transmission. They monitor outputs, adjust levels and quality, for example by equalization (adding and subtracting various frequencies), cue effects or music, and troubleshoot where necessary. For programmes recorded for later transmission, the sound is pre-mixed during recording by the Sound Supervisor. Additional effects and music may be added and mixed during recording, or dubbed later by Dubbing Mixers during the post production process.
On multi-camera programming, Sound Supervisors mix the sound sources and oversee the work of Grams Operators and Sound Technicians. Grams Operators are responsible for playing in, on cue, any pre-recorded music and/or effects. Sound Technicians place, or assist Costume Assistants with placing, personal microphones (radio mics) on Presenters and other contributors, ensuring that they are placed for optimum sound capture, taking into account the type of programme, and each person's voice level or type of clothing. Sound Supervisors also ensure that Public Address (PA) systems have been placed adjacent to camera monitor screens so that studio audiences can hear each programme clearly.
On studio or location drama productions Sound Supervisors oversee the work of Boom Operators and Technical Assistants. Boom Operators work with Fisher booms and fish poles to record sound. Technical Assistants may assist with the placement of personal or concealed microphones, or assist Boom Operators with tracking Fisher Booms on particularly deep shots where the action may range from the mouth (front) to the back of the set. Music programming is sometimes transmitted and mixed live during concerts, live events and light entertainment OBs, or recorded for later mixing. Where additional music is required, it is dubbed in along with additional effects during the post production process. In cases where it is impossible to record sound on location "clean" or closely enough, or where there is too much background noise, or other problems, dialogue may be recorded separately, and dubbed back in synch (synchronisation) during post production.
Sound Supervisors also monitor the safety and effectiveness of all sound equipment throughout each shoot, troubleshooting where necessary. They may be required to use specialist sound recording computer software and equipment for recording and mixing sources.
Typical career routes
The most important starting point for a career in Sound is to develop and demonstrate an interest in, and enthusiasm for sound, by exploring, experimenting and learning about audio technology and its capabilities. Sophisticated equipment is increasingly available at accessible prices on the high street. Sound Supervisors normally begin their careers as Sound Technicians, progressing to become Grams Operators and/or Boom Operators, and ultimately Sound Supervisors. Alternatively, they may move into post production and become Dubbing Mixers.
Essential knowledge and skills
Sound Supervisors must have a deep knowledge of, and sympathy with sound requirements and what can be achieved for productions in studio or on location. They must be familiar with the systems and equipment within each studio and OB facility, and should be able to solve any technical problems which arise before or during sound recording. They need in-depth, hands-on experience of all aspects of the capture, recording, mixing and amplification of sound. They must able to balance the creative requirements of the Director with the technical capabilities of the available equipment in order to produce optimum quality in the recorded sound, and ultimately to enhance the production values. When picture requirements lead to less than ideal sound quality, Sound Supervisors (and their crews) should be able to compromise by offering suitable alternatives or other solutions, often under severe time pressures.
Key Skills include:
- extensive knowledge of audio equipment and sound technology;
- knowledge of television production and post production processes;
- effective leadership and team working skills;
- excellent communication skills;
- a high level of organisational skills;
- patience, self-discipline and reliability;
- willingness to work long and irregular hours;
- a logical and fast approach to problem solving;
- precise attention to detail;
- advanced IT skills;
- diplomacy and sensitivity when working with actors, presenters, other contributors, and crew members;
- a thorough knowledge of the relevant Health and Safety requirements and legislation, and the ability to carry out risk assessments.
Training and qualifications
Sound Supervisors have normally had at least 5 to 10 years experience in sound (as Technicians/Boom Operators) before progressing to mixing and supervising. Although no specific qualifications are required for the Sound Supervisor role, any sound related vocational degree or qualification is valuable.
The National Film and Television School also offers industry recognised short courses for all grades. Continual professional development is vital, as television sound technology and techniques are constantly changing.
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.Browse Skillset's website for links to our network of training partners, information about training and access to the comprehensive Skillset/BFI course database. Finally, Skillset Careers is UK's only specialist media careers advice service; for detailed media careers information and advice, visit www.skillset.org/careers.
Websites
- - IBS, The Institute of Broadcast Sound, also publishes the journal Line Up; http://www.ibs.org.uk/
- - AMPS, Film and Television Sound Technicians Guild, AMPS Journal promotes the science, technology and creative application of all aspects of sound and image recording, reproduction and associated processes; http://www.amps.net/
- - APRS, The Association of Professional Recording Services; http://www.aprs.co.uk/
- - BKSTS (the moving image society) organises events, courses, and demonstrations of new equipment, and publishes Image Technology; http://www.bksts.com/
- - SMPTE, Society of Motion Picture and Television Engineers; http://www.smpte.org/
- - BECTU, the trade union represents sound personnel; http://www.bectu.org.uk/
- - Broadcast Freelancer; http://www.broadcastfreelancer.com/
Publications
- - Sound for Film and Television - T. Holman - ISBN - 0240804538
- - Sound Assistance - M. Talbot-Smith - ISBN - 0240515722
- - Sound Engineer's Pocket Book - M. Talbot-Smith - ISBN - 0240514068
- - Broadcast, the weekly newspaper for the UK TV and Radio industry. http://www.broadcastnow.co.uk/
- - Televisual, the business magazine for the broadcast and production industry; http://www.televisual.com/
- - Sight and Sound, publication available through the British Film Institute website
Glossary
- - Fisher booms and fish poles: long poles with microphones attached to the remote end. Booms may reach up to a length of 7.5 metres/25 ft.
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Sound Supervisor - TV
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