Once the location sound effects libraries have been catalogued, the sound department will begin the process for cleanup and mastering for use in the final sound edit. Forward to 15. Record Necessary ADR Back to 13. Hire Composer and Narrator
Hiring the composer early allows the conversation between the sound designer and composer to begin and will result in a more symbiotic soundtrack. The music and sound design department can discuss how the two will work together, where the music will dominate the scene, and where sound design might dominate the scene, while keeping in mind the intentions of the director. Once the narrator has been recorded, the sound department will do an edit pass to clean and level the recording. The sound department will also [...]
All wild recordings done on location should be forwarded to the sound department to be catalogued. Forward to 12. Evaluate Sync Audio Back to 10. Sync Audio Gets Imported with Picture Files
Recognize problem areas. Once an initial cut of the film is done, the sound department can evaluate the audio quality of selected takes, recognize problems areas, and advise the picture department. The decision can be made whether to use the take, to replace it with a cleaner one, or call for it to be fixed with ADR. Forward to 13. Hire Composer and Narrator Back to 11. Import Location Sound Library Audio Files and Catalogue
See #9. Forward to 11. Import Location Sound Library Audio Files and Catalogue Back to 9. Timecoded Sync Audio Files Sent to Offline Sync Rushes
Once the film is in offline, the multi-channel audio files need to be re-synced to the dailies before editing begins. It is very important that at no point during this process the multi-channel files be mixed down to mono, stereo, or any configuration other than the original one. They must remain split. An AAF file of the audio from the picture editor’s workstation will be supplied to the sound department for editing. If the picture edit team, when doing rough cuts, uses a stereo mix down [...]