However, if our Major Project team were to create a Sound Editor role for someone outside of the project group, then we would be handing over a very large and important part of the production to someone else, instead of achieving a high standard of sound design ourselves. So, alongside my role as Film Editor, I am also acting as the Sound Editor for Double Exposure. This will require me to focus on both the visuals and sound of the final product - which will be a big challenge in such a high standard of film-making - but I'm extremely pleased to be able to work on both areas of post-production.
With the end results of the sound design & quality being just as important as the film's visuals, it's important that I conduct research on the role of a Sound Editor as well as my research on my other role. So, I have gathered information below on the job descriptions of a Sound Editor, it's differences from other sound-based roles and the specific tasks that are carried out.
What Does a Sound Editor Do?
In my research I found that there are many different ways to explain the varying roles of a Sound Editor. Firstly, below is a useful outlining explanation that also highlights the importance of the role...
"Sound editors can set the perfect tone for a film or television series; the right music, dialogue, or sound effects can have an impact on an audience. Sound editors work within the film or television industry, choosing and producing music, dialogues, and sound effects for productions. Additionally, sound editors manipulate and edit background sound and dialogue to enhance or create the overall tone for a film or television show." [6]
In general, this is a very accurate description of the overall tasks that I will be taking on as Sound Editor. However, the areas that differ are the fact that I will not be able to produce any sounds myself (due to time & equipment restraints), and I will not be necessarily choosing the music myself. However, I will be deciding on a large amount of suitable sound effects and dialogue, as well as confirming if the composed music suits areas of the edit or not.
Further descriptions of a Sound Editor's role are similar to that of the above, while occasionally being referred to as Supervising Sound Editor (in terms of larger productions), the descriptions generally focus on the same tasks and importance of the role...
"The sound editor’s job begins once the movie has been filmed and all the dialogue has been recorded. This is called the audio post production stage of filmmaking ... The sound editor’s responsibilities are to prepare all dialogue, background sounds, sound effects and music for the final mix." [3]
"The last part of the sound editor’s job is to work with the music editor or soundtrack composer to choose the right moments for original music or preexisting songs. The sound editor prepares clean versions of all of these audio tracks so they can be added into the final mix." [3]
"Like picture editing, the completion of sound for a film also goes through a series of component parts. These normally start after “picture lock” and are performed by a team of sound editors and mixers. On small, indie films, a single sound designer/editor/mixer might cover all of these roles." [5]
"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***." [1]
* "ADR – automatic dialogue replacement or “looping”. ADR is the recording of replacement dialogue in sync with the picture. The actors do this while watching their performance on screen. Sometimes this is done during production and sometimes during post. ADR will be used when location audio has technical flaws." [5]
** "Foley – Foley is the art of live sound effects recording ... Examples of Foley include footsteps, clothes rustling, punches in a fight scene and so on." [5]
*** "Sound effects editing/sound design – Sound effects for a film come from a variety of sources, including live recordings, sound effects libraries and sound synthesizers." [5]
"Nowadays, it’s more common for a sound editor to purchase large digital libraries of background effects on CD. These offer a wide variety of audio clips that can be layered into a scene to create a convincing ambience." [3]
"The sound editor uses [background sound effects] to create a mood or ambience. If the scene takes place in an office, the background effects could include phones ringing, people talking quietly in the background and the barely perceptible hum of the air conditioning system." [3]
When focusing on ADR, Foley & sound effects, if there are no technical issues during production, then we will not require any ADR. Foley, however, will be captured by a sound technician crew member during shoots and later added by myself in post-production, and any extra (suitable) desired sound effects will be obtained online during post-production.
Also, the final reference above allowed me to make considerations before filming, as to what kinds of background effects could be suited to the film. Such as a dog barking in the distance, a fridge's hum, or the sounds of a laptop in use. So, I need to make sure that any Foley sounds that can be recorded during filming will be recorded, and any other sounds that need to be found online will be sourced (by myself) before sound editing begins.
Sound Editor or Sound Designer?
An important consideration for my Sound Editor role is distinguishing the differences between a Sound Editor's tasks, and a Sound Designer's tasks. While in some descriptions of a Sound Designer, their tasks apply to my own - such as deciding which sounds are needed...
"The first task for Sound Designers is to identify the three main kinds of sound effects needed. These may be gunshots, clocks, doors closing, dog barking (spot effects) or rain, wind, traffic, birdsong (atmosphere effects)." [2]
The main role of a Sound Designer, actually creating and recording sound material, doesn't apply to my role...
"Sound Designers source these different sounds and often create and record original new material." [2]
Therefore, my official sound-based role for Double Exposure will be Sound Editor, but I will carry out many sound design tasks within this role.
Tasks & Skills
When considering the skills that I need to have as a Sound Editor, I found a helpful list below...
- "Be able to manage and motivate a team
- Have excellent communication skills
- Have excellent listening skills
- Have a methodical, organised approach to work
- Be able to work under pressure to tight, changing deadlines
- Have precise attention to detail
- Be able to see the bigger picture" [1]
Similar to the skills of a Film Editor, I feel that my experience and improved skills are very suited and capable within this role.
Another helpful list that I found in my research is a list of tasks and materials that a Sound Editor often builds up and carries out during post-production. I found this to be very helpful as a step-by-step layout...
"Recordings:
- Dialog recorded during a take
- Wild sounds – taken without images
- Outtakes
- Ambient sounds, room tone, etc." [4]
I will have all of these sounds gathered, ready for post-production.
"Syncing:
Every recording is ultimately paired with imagery, unless they are to be discarded. For this reason it is prudent to find ways to ensure your audio and video can sync with each other, even if you record them separately." [4]
This will be a very large consideration and task during post-production, especially during drone shots, and will be planned effectively during pre-production & production.
"Sound Editing
The sound editor assembles and organises the audio recordings and tracks ... in the way that is most beneficial for the rest of the audio workflow.
The sound editing phase divides audio samples (recordings, tracks) into four major categories:
- Dialogue
- Foley
- Effects
- Music
These four categories will also be used in my own work for organisational purposes.
"Dialogue can come from recordings on set, wild recordings, ADR, and so on. All of these sounds are:
- Chosen – find the best possible recordings for the final mix.
- Cleaned – for noise, artifacts, reverb, etc.
- Filtered – various effects added to enhance or manipulate the recording to deliver a specific feel.
- Layered on the timeline, in sync with the visuals.
This is the stage where the sound editor also decides if any audio needs to be re-recorded. This is the stage where every sound is decided on, assembled and made ready for the final mix." [4]
In regards to the above, I will be very professional in my tasks of making sure all soundtracks that are incorporated are of high quality, in sync, and well suited to the edit.
Although I have always edited all sound within my own past projects, I feel that I had slightly less knowledge on my Sound Editor role than my Film Editor role in general. I think that from conducting this research, I've learned a lot about the specifics of being a Sound Editor and the ways that it will tie in with my Film Editor duties.
No comments:
Post a Comment