How to help your post sound team do the best job for you

The post production phase of your project can sometimes be even more daunting than your time shooting on set. Now you’re tasked with refining the picture edit, visual effects, coloring, music scoring, and sound mixing - all with having the deadline of your release date inching closer and closer.

The last thing you need is to think about more things to do. When it comes to post sound, a good post team will help guide you through the process. However, there are steps you can take on your on to make things easier for your sound team later on.

1. Include your sound team in your project discussions as soon as possible

Most often post sound isn’t thought about until the very end of your project. In many cases, the process can become a rush on a limited budget, and might end up costing more money and time due to unforeseeable problems. Having your sound team involved in conversations early on can give you a better idea of expectations, and they can provide solutions to issues you may have overlooked.

These conversations should include clarifying who the decision makers are, sharing points of contact, scheduling for studio time, and understanding general timelines for deliverables. 

2. Provide all necessary points of contact to your sound team

The key point of contact on the sound team side is the Supervising Sound Editor, and is in charge of setting schedules and making sure everyone has what they need to do their job. The sound team will need to communicate with a number of other people involved with your production in order to get the necessary information and assets to begin work. 

Here is a list of people needed and the crucial things they can to provide for better workflow.

The Key Decision Makers: This includes the director and any producers involved in the decision making process in regards to signing off on budgets, deliverables, and offering creative notes. It’s also important to ensure everyone is always on the same page in terms of these expectations.

The Picture Editor/Assistant Editor: The picture editor, or assistant, is responsible for preparing and sending audio and video file assets to the post sound team. It is common that issues arise when importing files, so it’s best to have direct communication to help resolve them. They would need to provide the following:

Video File with Timecode Burn: The correct video format is crucial for smooth playback during the sound mix. Timecode burn helps ensure that video is always in sync with the sound during the mix session.

OMF/AFF: This file set contains all of the audio used in the picture edit along with metadata for each sound clip’s timecode placement. This becomes the foundation of the sound mix.

EDL: The Edit Decision List is a separate file that helps with tracking and syncing production audio to the project. It is also necessary when conforming sound after the picture edit has changed.

The Composer: In some cases the composer will need to supply the post sound team with mixdown tracks or stems separated into different instrument groups. It is common that changes can be made to the score outside of picture lock, and there may be many versions needed as the sound is being worked on. It is most likely the sound team may be in frequent contact with the composer.

The Production Sound Recordist: Your location sound person may be responsible for sending along all of the additional production sound that was recorded on set along with any notes. They should also be available to clarify any questions or issues concerning the materials provided. 

Having access to every take from production can help with replacing words or lines when the location sound might not be desirable from the take used in the picture edit. These location sounds could also include wild lines for replacement, environmental ambience, diegetic sound effects, and room tone for matching the location. 

3. Coordinate your schedules

Before any sound editorial begins, everyone involved should have an idea of the workflow schedule and deadlines. Session time may also need to be allocated for recording ADR and Foley. Actors would need to coordinate their ADR schedule and location, as many of them may be traveling or shooting another project. Producers should have an idea as to when to expect review sessions and to submit notes.

Conclusion

Now that we understand all of the different parts involved with coordinating post production sound, we can confidently move into this phase of your project with everyone’s best expectations in mind.

To learn more about how we can assist in your post sound workflow, please contact us.