SUPERVISING SOUND EDITOR IN MOTION PICTURE PRODUCTION… (In the Entertainment industry. Supervising Sound Editor)

Sound Editor / Photo Credit: Chris Roberts - Twitter - Encore London RTS

SUPERVISING SOUND EDITOR IN MOTION PICTURE PRODUCTION… (In the Entertainment industry. Supervising Sound Editor)

Bruce Bisbey…please follow me at: https://dumbdogproductionsllc.blogspot.com or https://www.facebook.com/DumbDogProductionsLLC/ thank you.

Supervising Sound Editor in Motion Picture Production

The supervising sound editor is a department head who oversees the entire post-production sound crew, including the music editor, sound editor, Foley artist, and ADR editor. He or she is ultimately responsible for the completion and quality of all sound editing, and answers to the producer and director.

The Supervising Sound Editors’ role varies according to the budget and scale of each film. On low to medium budget films they start work when the picture Editor has achieved picture lock (the Director and/or Executive Producer have given final approval of the picture edit) . They have a hands-on role, often cutting dialogue, ADR, Foleys and special effects. On big budget films, they usually start work before shooting begins. They appoint specialist Sound Editors to supervise separate teams for each area of work.

They are responsible for the sound budget, organizing the work flow and making plans for any special requirements such as CGI (Computer Generated Images).

After picture lock, Supervising Sound Editors attend a “Spotting Session” with the Director and other Sound Editors. This is when they discuss any concepts for the overall feel of the sound (naturalistic or stylized), and check every sound effect and line of dialogue to see what ADR or Foleys may be needed.

During this stage, Supervising Sound Editors oversee the recording of fresh dialogue by the actors, Foleys by Foley Artists, sound effects and sometimes the music. These are all prepared for preview screenings.

After audience previews, the Producer(s) and financiers usually require films to be re-cut. The Supervising Sound Editor will oversee several more mixes before the Pre-Mix of the film, where all sound inconsistencies are smoothed out. They need to make sure the Final Mix runs smoothly, working closely with the Re-Recording Mixer.

The whole process can take between two and 12 weeks, depending on the scale of the film. After the Final Mix, the Supervising Sound Editor usually oversees the ‘deliverables’. These include the Music and Effects version of the film which allows the dialogue track to be replaced with different language versions.

Supervising Sound Editors may 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. They usually hire a room close to the picture Editor(s), and provide their own equipment. Supervising Sound Editors work long hours under considerable pressure.

Duties

On low-budget productions, the supervising sound editor may not be hired until the final picture edit of the show has been approved, in which case he or she is therefore responsible for most of the physical sound editing, re-recording, and mixing. This type of gig involves a much smaller crew; generally, the supervising sound editor will have only one or two additional pairs of hands. Medium- or big-budget productions typically bring the supervising sound editor on board during pre-production, where he or she is heavily involved in the creative planning process and is given ample time to hire and prep a large crew of specialists. The supervising sound editor is always responsible for planning and monitoring the post-production sound budget, securing equipment rental, scheduling staff, and establishing the workflow of the department.

At spotting sessions (where the final picture edit is reviewed before completed audio track), the supervising sound editor will confer with the director and producer to gain a greater understanding of their creative objective for the sound of the film, discuss ideas and special effects, and take notes on ADR or Foley that must be added. Following this session, the supervising sound editor assigns his or her crew to the tasks necessary for completing the show’s audio track: recording new dialogue, creating sound effects, etc. This person is hands-on with the crew to guide their work and ensure adherence to the director and sound designer’s intent. Major studio releases will typically go through a short preview-screening period, after which it is common for additional picture and sound edits to take place. The supervising sound editor will therefore oversee the final mix process until the product receives approval from the producers and studio executives.

Skills & Education

A formal education in film and television production with an emphasis on post-production sound editing is highly recommended, and further education in sound recording, music editing, Foley, dubbing, and related specialties is encouraged. Proficiency in both the creative and technical areas of audio production is necessary. Additionally, the supervising sound editor must be detail-oriented and organized, an effective leader and an excellent communicator. He or she should have the experience necessary to accurately estimate labor hours and costs in order to provide precise budgets for each project.

What to Expect

In some instances, the sound designer, depending on the production and preference of the producer and director, may perform the supervising sound editor’s role. The path toward this career begins as a union trainee or non-union intern in the post-production sound department of a film or television show. Depending on the size of the production, every film or television show is allowed to have one apprentice in each department. This work is usually unpaid, but not uncompensated: Offering your services for free is an excellent way to gain experience. From there, taking any role within post-production is a benefit to your career aspirations. However, you should identify as early as possible which areas of the post process interest you most. Employment opportunities are available for supervising sound editors within a post-production studio or as a freelance technician.

Sources, References & Credits: Google, Wikipedia, Wikihow, WikiBooks, Pinterest, IMDB, Linked In, Indie Wire, Film Making Stuff, Hiive, Film Daily, New York Film Academy, The Balance, The Numbers, Film Maker, TV Guide Magazine, Media Match, Quora, Creative Skill Set, Investopedia, Variety, No Film School, Daily Variety, The Film Agency, Best Sample Resume, How Stuff Works, Career Trend, Producer's Code of Credits, Truity, Production Hub, Producers Guild of America, Film Connection, Variety, Wolf Crow, Get In Media, Career Planner,

THIS ARTICLE IS FOR INFORMATIONAL PURPOSES ONLY. THE INFORMATION IS PROVIDED "AS IS" AND BRUCE BISBEY MAKES NO EXPRESS OR IMPLIED REPRESENTATIONS OR WARRANTIES, INCLUDING WARRANTIES OF PERFORMANCE, MERCHANTABILITY, AND FITNESS FOR A PARTICULAR PURPOSE, REGARDING THIS INFORMATION. BRUCE BISBEY DOES NOT GUARANTEE THE COMPLETENESS, ACCURACY OR TIMELINESS OF THIS INFORMATION. YOUR USE OF THIS INFORMATION IS AT YOUR OWN RISK. YOU ASSUME FULL RESPONSIBILITY AND RISK OF LOSS RESULTING FROM THE USE OF THIS INFORMATION. BRUCE BISBEY WILL NOT BE LIABLE FOR ANY DIRECT, SPECIAL, INDIRECT, INCIDENTAL, CONSEQUENTIAL OR PUNITIVE DAMAGES OR ANY OTHER DAMAGES WHATSOEVER, WHETHER IN AN ACTION BASED UPON A STATUTE, CONTRACT, TORT (INCLUDING, WITHOUT LIMITATION NEGLIGENCE) OR OTHERWISE, RELATING TO THE USE OF THIS INFORMATION.

Sound Editor / Photo Credit: Chris Roberts - Twitter - Encore London RTS