People and Equipment used in Production and Post Production Audio (2)

The Music Telegraph | Text 2019/07/24 [13:04]

People and Equipment used in Production and Post Production Audio (2)

The Music Telegraph| 입력 : 2019/07/24 [13:04]

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People and Equipment used in Production and Post Production Audio (2)

 

 

Post Production Audio

Once film shoots have been completed the Post Production sound department begin work on constructing the soundtrack for the film. This involves a variety of work, ranging from creating the noises of giant explosions or car crashes to the art of adding subtle sounds that enrich the language and feeling of films.

 

On a big film, the soundtrack in its entirety is overseen by the Supervising Sound Editor. He or She will manage the entire crew in charge of the audio production and post-production, and will delegate and work with 'the supervisors of the individual elements of the soundtrack' (i.e. the dialogue, music, and sound effects).

 

 

(1) The Dialogue Supervisor

The person responsible for the final dialogue stem mix. He or She will be in charge of re-recording any dialogue parts that need to be replaced, via ADR (Automated Dialogue Replacement), and mixing them with any production sound that is to be used, as well as any voiceovers that may be required.

 

 

(2) The Sound Effects Supervisor

The person responsible for bringing together all the sound effects. He or She will determine what will be re-recorded by the Foley Artists, and what will be compiled from a sound effects library (canned sounds). In addition, the Sound Effects Supervisor will work together with a Sound Designer to create original sound effects, designed specifically for particular scenes from the film. 

 

 

(3) The Music Director

The person responsible for bringing together the final music tracks for the film. He or She will  get together with the Film Composer to discuss what music will be needed for any particular scenes. The music director will book the studio and crew (engineers and assistant engineers, copyists, etc.), as well as the musicians. The Music Director will then arrange for any scoring sessions that will be needed. 

 

 

(4) Film Composer

The person responsible for writing original music for films. They discuss ideas with Directors, and establish where and when music is required during spotting sessions. They produce a demo score, searching for a musical style to suit the story, and decide on the themes and purpose of the music. Composers prepare the score, usually as midi files, for the Orchestrator (who may also have some creative input), and the Copyist. Composers prepare all the electronic aspects of the score for the recording sessions, and attend the sessions. They are responsible for delivering the score to the Producer, together with all recordable media, prepared to specific requirements. Composers' work is usually overseen by a Music Supervisor.

 

 

- EDL (Edit Decision List):

A document assembled by the film/video editor which lists time code addresses, scene description, event number, roll used, type of process between one scene and another (e.g. cut, dissolve,fade, etc.), edit in and out points (from the source reel), and record in and out points (to the destination reel), in SMPTE time code. Some of this information, like scene start and end points, type of process between scenes, etc. is used to help aid decisions in the spotting session.

 

- Spotting Session:

In post production, the process of identifying the scenes for which music, dialogue, and effect cues will be written, placed, or replaced, writing down their length, footage numbers or SMPTE time code addresses. The decisions made in the spotting session will be reflected in a cue sheet. 

 

- Cue sheet:

A chart which lists the beginning and ending times for all dialogue, music and sound effects. It is the end product of the spotting session.

 

 

(5) Re-Recording Mixers

Formerly known as 'Dubbing Mixers', work with all the sound elements (production dialogue, ADR, foley, sound effects, backgrounds, room tones, and music), and mix them together to create the final soundtrack.

 

 

Because of changes in technology, many jobs in sound post production are less easily defined, e.g., on some small to medium budget films, Re-Recording Mixers may also work as Sound Designers.

 

 

 

 

 

 

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