What does a Sound Editor do?

Sound Editors manage the team that looks after each part of the sound of a film or TV drama. This includes those responsible for dialogue, additional dialogue recording (ADR), sound effects, background sounds, and Foley.

Their role varies according to the budget of the production. On lower-budget films, they start work when the picture Editor has achieved picture lock – the point at which the Director or Producer has given the final approval for the picture edit. On bigger budget films, they start work before shooting begins and appoint specialist Sound Editors to supervise separate teams for each area of work.

After picture lock, Sound Editors attend a “spotting session” with the Director and other Sound Editors. 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’s needed.

They will then have a hands-on role in creating the overall soundtrack for every discipline.

They are responsible for the sound budget and for organizing the workflow – from sound editorial, foley recording, ADR sessions, pre-mix to the final mix, and making plans for any special requirements. After the final mix, Sound Editors usually oversee the creation of the different deliverables, including a music and effects version which allows dialogue to be replaced with dialogue in different languages.

Among the challenges that Sound Editors face are creatively adding together various elements to create believable sounds representing everything you see on screen. The Sound Editor must put all the elements of sound together in a way that not only sounds seamless and natural but also heightens the dramatic tension or emotional impact that the Director wants in each scene.

Who does a Sound Editor work with?

Sound Editors work closely with the Director, Editor, and the Post-production Supervisor, who is responsible for the smooth running of the whole post-production process. They also work with the following people in the post-production sound department.

Music Editor
Music Editors intensify the emotional impact of a film by creating the soundtrack. They contribute mood, atmosphere, and the occasional catchy theme tune.

Sound Designer
Sound Designers are concerned with all the sound effects whether that be gunshots, clocks, doors closing, dog barking (spot effects) or rain, wind, traffic, birdsong (atmosphere effects), or special effects such as aliens talking.

Foley Editor
Foley Editors add subtle sounds that production microphones often miss. These often relate to movement, such as footsteps, fights, fist banging on a door, or pouring wine, shards of glass falling from a broken window. The process gives scenes added realism. They note every Foley effect that is required and works out how to create that sound in special studios. They create the sounds with Foley Artists in front of a projected picture and may try several different ways to get the right effect. After the studio recording, Foley Editors fit all the Foleys to the images in perfect sync.

Re-recording Mixer
Re-recording Mixers mix a soundtrack for preview sessions. They work at large mixing consoles smoothing out sound and adding a temporary music soundtrack prepared by the Music Editor. After previews, when the film or show has been re-cut, Re-recording Mixers further pre-mix the sound and reduce the number of tracks in preparation for the final mix. In the final mix, the soundtrack is refined in consultation with the director and mixed to industry standards.

ADR Mixer or ADR Dialogue Editor
ADR Mixers review the original sound files of a production to spot technical or performance-related problems and analyze whether they could be replaced by an alternate take. Working on a digital audio workstation (DAW), they use editing software to cut between a number of takes to create crisp clean lines of dialogue. If this isn’t possible they will use additional dialogue recording (ADR). This is where actors come in for a voice recording session, watching themselves on screen and re-voicing as accurately as possible. After the newly recorded ADR has been edited into the original track, ADR Mixers work to make all background or ambient sound smooth.

Descriptive Video Transcriber
Descriptive Video Transcribers are responsible for creating detailed descriptions to be provided in cinemas or as home-viewing additional soundtracks for visually-impaired viewers. They use a specially designed programme that simultaneously displays the film script, actual image, and timecodes to enable them to write their own narration according to precise timing. Once the audio description script is prepared they will spend several days recording and mixing the new specific soundtrack, which will be reviewed by the Distributor.

What does a Music Editor do?

Music Editors intensify the emotional impact of a film by creating the soundtrack. They contribute mood, atmosphere, and the occasional catchy theme tune.

They usually start work while the film is being edited. They work with the Director to decide on the purpose of the music, find a style to suit the story and mark the points in the film where music is required (spotting). Music Editors then work closely with a Composer, who is usually appointed by the Director, and who composes the music using the temp score as a template. The temp score is also used by the film editors to achieve the right tempo with the cut. Music Editors often act as a bridge between the sound and picture teams.

They attend all recording sessions, helping with any revisions and design a ‘click track’ which is used to help the musicians achieve synchronization with the movie. Working with a specialist music mixer, they create different mixes, lay down the tracks and fit them exactly to the picture, ready for the final mix or dub.

Who does a Music Editor work with?

Within the post-production house, music editors work closely with the supervising sound editor. They also work with the following:

Music Supervisor
Music Supervisors negotiate deals and contracts, prepare budgets, and attend scheduling meetings. They oversee the composing process, ensuring that the required music is being written, listened to, and reported upon. They organize music orchestration and copying. If the music is to be published, they ensure that it’s registered properly.

Composer
Composers write original music. They write themes to pictures and deal with any revisions, collaborating with the editor. Composers prepare the score, usually on midi files, for the orchestrator and copyist. They also prepare the score’s electronic aspects for the recording sessions and deliver the score to the producer, together with all recordable media.

Who does a Sound Mixer work with?

Boom Operator or First Assistant Sound
A boom is an extendable arm on which a microphone can be mounted. They are designed to pick up the sound without appearing in the shot. Boom Operators are responsible for operating booms as well as placing radio or clip microphones to capture the best quality dialogue and sound effects. They must carefully note all planned camera movements and lighting requirements to make sure the microphone is always hidden.

Sound Assistant (second assistant sound, third assistant, utility sound technician, cable person)
Sound Assistants begin work on the first day of shooting and help unload, check and set up sound equipment. They find and stop unwanted noise (including laying carpets) and check batteries for the sound crew. They may help attach clip microphones, negotiate cables on the studio floor, and ensure sound rushes are correctly filed at the end of the day.