Audio Post Production Workflow

1. Audio Post Production Workflow

2. Project Set Up Conforming The process of importing and aligning production sound recordings to match the picture. It is common for the production audio to be conformed to the video even before the video editor begins to edit.

3. Project Set Up Workprint Nearly final edited version of a project used as a guide during the audio post-production process. • Distributed on digital video tape or as a digital video file (Quicktime, AVI, or MPEG) • Time code is often burnt in and used for reference (aka BITC) • Often some of the video special effects or even whole scenes may be missing

4. Project Set Up EDL (Edit Decision List) A document which lists all of the video edits in a workprint. • It contains an ordered list of the reel and timecode data representing where each video clip and corresponding production sound can be obtained • It is needed in order to properly conform the production sound to the workprint • Also useful as an aid in the spotting session

5. Project Set Up OMF (Open Media Framework) Is a platform-independent file format intended for transfer of digital media between different applications. • Often an OMF file of the conformed and edited production audio is included along with the workprint.

6. Project Planning Spotting The process of identifying the scenes for which music, dialogue, and effect cues will be written, placed, or replaced. • Decisions are made about what sounds can be used from production audio tracks, what needs to be re-recorded using ADR, what can be used from pre-recorded libraries, and what needs to be acquired • Timecode location for these sound elements are written down (or entered into a computer application)

7. Project Planning Cue Sheet A chart which lists the start and end times for all dialogue, music and sound effects. It is the end product of the spotting session.

8. Project Planning Time Management Plan (TMP) A worksheet that describes the order and estimated time needed to complete all steps required to prepare, execute, and finally deliver a finished soundtrack.

9. Project Planning Supervising Sound Editor On a large project, the soundtrack and its entirety is overseen by the supervising sound editor. Responsibilities of the Supervising Sound Editor: • Manages the entire crew in charge of the audio production and post-production • Attends spotting session with the director • Develops a workflow schedule • Delegates work to the post production audio crew • Oversees and approves team progress • Delivers the final soundtrack by deadline

10. Soundtrack Production Dialogue: Dialogue Supervisor The person responsible for the final dialogue stem mix. • In charge of looping any dialogue parts that need to be replaced via ADR (Automatic Dialogue Replacement) • Also in charge of voice-overs that may be required • May have several people working under him/her • Dialogue Recording Engineer • Dialogue Editor

11. Soundtrack Production Dialogue: Production Dialogue Restoration Techniques The audio from the set (the sync sound) is frequently marred by unwanted sound degrading the quality/usability of the track There are techniques and applications that can be employed to clean up and prepare the track for use in the final mix.

12. Soundtrack Production Dialogue: ADR (Looping) When the production track is completely unusable or non existent, then the dialogue must be recorded by the actor and synched into the image. There are two types: • Single voice ADR sessions • Walla (more than one person – usually for crowds) In an ADR session, the actor looks at themselves on a screen while delivering the lines from that scene into one or more microphones. • The actor may be listening to the guide track or the SOT production track recorded with the scene • The performance must match the scene on the screen • To assist the actor in synching, the first lines to be spoken are sometimes preceded by beeps known as timing beeps

13. Soundtrack Production Sound Effects: Sound Effects Supervisor The person responsible for bringing together all of the sound effects • Will determine what will be re-recorded by the Foley artists and what will be compiled from a sound effects library • May have several people working under him/her • Sound Effects Editor • Foley Engineer • Sound Designer • Sound Effects Recordist

14. Soundtrack Production Sound Effects: Sound Effects Editor The person will take all of the sound effects acquired and edit them in the sound effects stem mix.

15. Soundtrack Production Sound Effects: Sound Effects Libraries There are many companies that have recorded thousands of sound effects, edited them into a search engine database, and offers them for use in post-production projects.

16. Soundtrack Production Sound Effects: Field Recording When a sound effects library isn’t appropriate or the required sound isn’t available, it may need to be recorded. • Recorded by sound effects recordists • Usually recorded with high quality microphones into lightweight, portable digital recorders

17. Soundtrack Production Sound Effects: Foley Engineers/Artists Foley is the practice of recording sounds produced by someone (Foley artist) who is watching a scene and making the appropriate sounds synched to the image. • The recording process is very similar to ADR

18. Soundtrack Production Sound Effects: Sound Designer Uses a combination of real sounds and synth sounds to create original sound effects and soundscapes.

19. Soundtrack Production Music: Music Supervisor The person responsible for bringing together the final music soundtrack. • Will get together with the composer and producer to discuss what music will be needed for any particular scenes • Will book the studio and crew, as well as the musicians • Will arrange for any scoring sessions • May be in charge of producing an audio compilation separately from the film (recording may include the whole un-edited score plus any other music that was part of the film soundtrack)

20. Soundtrack Production Music: Scoring Engineer The person responsible for recording the music and delivering it to the music editor. • Usually recorded in the highest resolution available • Track layout/pre-mixing helps the editor (sub-mixes of rhythm, horns, strings, etc)

21. Soundtrack Production Music: Music Editor The person responsible for taking the music elements and editing them into the film’s timeline according to the instructions from the EDL/spotting session.

22. Soundtrack Production Music: Types of Music Source Music is any music that seems to have its origin within a scene There are two types: • Obligatory – either from a visual source (scene with band, record player, etc.) or implied source (scene with dancers, marching, etc.) • Optional – seems appropriate (mall, hotel lobby, etc.) but not clearly missing if not heard Song Score is music sung by the actors where the lyrics are an essential part of the plot (i.e. musical). Underscore is music written for the emotional enhancement of a production. Theme Music is written for a specific music, product, or company and is a useful part of branding.

23. Soundtrack Production Music: Scoring Music for Film Temp Score or Temp Tracks is score created by editing pre-existing music to a workprint. Original Score is music created specifically for the production. • Spotting: EDL with Music Editor, Director, and Producer • Composition: sketching, demos, source music • Scoring preparation: contracting musicians, booking, set up, picture, and parts preparation/copying • Scoring session (recording): slating of cues, conducting, mix, and transfer Music Editing is assembly and editing of the cues into proper order in synch with picture.