WHAT DOES A MUSIC EDITOR DO? (In the Entertainment industry. What Does A Music Editor Do?)

Post Production Dubbing / Studio Photo Credit: Nihon Onkyo Engineering Co Ltd

WHAT DOES A MUSIC EDITOR DO? (In the Entertainment industry. What Does A Music Editor Do?)

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

What Does A Music Editor Do?

Music Editors are responsible for all the music featured on film soundtracks. This includes performed music eg a band or singer who performs within the film, any bought-in music, and the film Composer’s score.

On musicals Music Editors are responsible for how the music is portrayed in the film. They work closely with the picture Editor to get the right mix of image and movement. On a medium budget film, Music Editors usually start work during the picture editing process. They develop a Temp (temporary) Score, which is made up of music lifted from other film soundtracks or sourced music. This helps the Editor to achieve the right pace and emotional tempo. It may also provide a broad template for the Composer, and help the Director with getting the feel of the soundtrack.

Music Editors attend a “Spotting Session” with the Director, Picture Editor, Music Supervisor, Producer and Composer. They note all music cues. This gives the Composer a written template used to produce the score. It also gives the Music Supervisor essential notes regarding copyright clearances and budgetary issues. 

Some Composers may also require Music Editors to produce a Cue Breakdown, which involves rewriting the script from a musical point of view, helping the Composer to estimate the tempo and metre of the score.

Music Editors also communicate all editing changes to the Composer in musical terms. For example if a number of frames have been cut, the Composer might have to lose a bar or three beats of the score. Music Editors also design a “click track” for the film which is used during the recording of the score to help the musicians achieve the correct tempo and perfect picture-to-music synchronization. Music Editors attend all music recording sessions, to help with any last-minute revisions or changes which may require additions or subtractions from the “click-track”.

Music Editors work with a specialist mixer to create different mixes of all the music tracks. They have to look out for potential problems like a loud cymbal crash occurring at the same time as a line of dialogue. Using a computer software programme, Music Editors lay down all the music tracks, fitting them exactly to the picture, ready for the Final Mix or dub. They have to attend this session to find quick, creative solutions to any last-minute problems.

One of the final tasks for Music Editors on films is preparing the Cue sheet. This is a detailed breakdown of all the music featured on soundtracks (including length and function). This is sent to the Performing Rights Society, ASCAP (American Society of Composers, Authors and Publishers) and all exhibitors so that royalties can be paid every time the film is screened.

A film or television show is not complete without a variety of music cues. The composer’s melodies flowing beneath the visuals lend emotion, suspense, and a depth of experience, as do source cues (heard when an actor turns on the radio or walks into a nightclub), or songs performed on camera. Part of the post-production department under the supervising sound editor, the music editor is responsible for editing all music for a film or television show’s sound environment, including the original score, source music, and songs.

Duties

The music editor typically begins work during post-production once the picture is locked; that’s the point at which the director and producer have approved the picture edit of the show. During a spotting session, which is a review of the edited film without the completed sound effects and dialogue tracks, the music editor will consult with the producer, director, music supervisor, composer, and supervising sound editor. He or she makes notes for intended music cues (usually represented by a temp track) that will later be used by the composer in writing a score complementary to the picture in terms of tempo and mood. A cue breakdown may be required, which amounts to rewriting or annotating the script to identify pacing, scene length, frame rate, and other information useful to the composer. The music editor also designs the click track that aids the composer and orchestra in precisely timing the score to the picture.

The music editor will monitor the completion of the score and attends all recording sessions. This person does not supervise the composer, but is there to offer assistance and act as a liaison between the post-production staff and musicians. If editing changes take place that will affect scoring, it is the music editor’s task to make the composer aware and quickly make the appropriate revisions to the cue breakdown and click track. Once all original music is recorded, the music editor works closely with a mix engineer (also known as a music mixer in film) to balance the score with the picture and strip in music at emotionally appropriate and impactful moments. He or she must take special care to consider the volume of the background score to ensure that dialogue is still clearly understood above the underlying music. Upon completion, he or she will be responsible for delivering cue sheets, necessary for calculating royalties owed for the use of copyright music.

Skills & Education

A formal education in film and television production with an emphasis on post-production sound editing is recommended. A college degree in music production would also be applicable. Coursework should include training on mixing and editing consoles, as well as software like Pro Tools. Additional study of composition, music history, and film history is also beneficial. The music editor should have a terrific sense of story and how music can emotionally support the visual action. Similarly, he or she must have a thorough understanding of musical styles and genres. The ability to clearly communicate abstract ideas in the creative environment and to interpret a director’s vision is crucial.

What to Expect

A path toward a career as a music editor may begin with work in post-production sound editing, or through employment as a mix engineer, recording engineer, or similar recording industry position. Entry-level, full-time positions exist at independent post-production studios that cater to the film and television industry, as well as in the post-production facilities of major studios. Additionally, major motion pictures and television series employ union trainees and non-union interns. Perhaps the easiest—or at least the most abundant—source of post-production work is on reality series. With experience, a post sound crew member can advance to the role of music editor. From there, future opportunities may lead to freelance or permanent employment as a supervising sound editor in sound design.

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, Production Beast, Sony Pictures,

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Post Production Dubbing / Studio Photo Credit: Nihon Onkyo Engineering Co Ltd