SOUND JOBS IN FILM/TV
Production Sound Mixer
The production sound mixer is head of the sound department on set, responsible
for recording all sound during filming. This involves the choice and deployment of
microphones, operation of a sound recording device, and sometimes the mixing
of audio signals in real time.
Boom Operator
The boom operator is an assistant to the production sound mixer, responsible for
microphone placement and movement during filming. The boom operator uses a
boom pole, a long pole made of light aluminum or carbon fiber that allows precise
positioning of the microphone above or below the actors, just out of the camera's
frame. The boom operator may also place radio microphones and hidden set
microphones. In France, the boom operator is called the perchman.
Utility Sound Technician/3rd Man
The utility sound technician has a dynamic role in the sound department, most
typically pulling cables, but often acting as an additional boom operator or mixer
when required by complex filming circumstances. Not all films employ a utility
sound technician, but the increasing complexities of location sound recording in
modern film have made the job more prevalent. This role is sometimes credited
as "cable man" or "python wrangler".
Foley Artist
Foley is the reproduction of everyday sounds for use in filmmaking.[1] These
reproduced sounds can be anything from the swishing of clothing and footsteps
to squeaky doors and breaking glass. The best Foley art is so well integrated into
a film that it goes unnoticed by the audience.[1] It helps to create a sense of
reality within a scene. Without these crucial background noises, movies feel
unnaturally quiet and uncomfortable.
Foley artists look to recreate the realistic ambient sounds that the film portrays.
The props and sets of a film do not react the same way acoustically as their real
life counterparts.[1] Foley sounds are used to enhance the auditory experience of
the movie. Foley can also be used to cover up unwanted sounds captured on the
set of a movie during filming that might take away from the scene at hand, such
as overflying airplanes or passing traffic.
Re-Recording Mixer
A Re-Recording mixer is involved with all areas of the original production sound.
They must assemble all elements of recorded sound to specific work prints or
"stems." Often there are so many recorded elements during production that the
re-recording mixer will "sub-mix" these elements making them easier to handle
and keep track of. They will, as well, re-record additional elements if necessary
prior to the final film mix.
Sound Editor
Responsible for assembling and editing all the sound effects in the soundtrack.
The Dialogue Editor
The dialogue editor assembles, synchronises, and edits all the dialogue in a film
or television production. Usually they will use the production tracks: the sound
that was recorded on the set. They will smooth it out in terms of volume and
equalisation. If any of the production tracks are unusable they can be replaced by
either alternate production tracks recorded on set or by ADR, automated
dialogue replacement, which is recorded after the shoot with the actors watching
their performances in a sound studio and rerecording the lines. Large
productions may have an ADR editor working under the dialogue editor, but the
positions are often combined. The ADR editor or dialogue editor also work with
the walla group in films which they are required, providing the background chatter
noise in scenes with large crowds, such as parties or restaurants. Once the
dialogue editor has completed the dialogue track, the re-recording mixer then
mixes it with the music and sound effects tracks to produce the final soundtrack.
Sound Effects Editor
As the name implies, this position involves the creation and editing or piecing
together sounds to make effects. The use of digital animation and digital
compositing has increased dramatically in today's films. This trend has by default
increased the need for Sound Effects Editors as well as Sound Designers.
Although production audio is recorded during the filming of a movie, the real
excitement of a film typically is created by additional sound effects and custom
sounds that enhance the believability of the script.
Mixing Engineer (Music, SFX, Dialogue)
The function of the mixing engineer is identical to that of the musical mixing
engineer. The difference is that instead of multiple instrument tracks, in film there
are usually a mix engineer for each major section of audio: Music, Sound Effects,
and Dialogue. Working together during the final mix, these 3 engineers create the
flow of audio while watching the workprint.
Sound Supervisor
As a Sound Supervisor, you will be involved with both the creative and
administrative portion of the films sound elements.
Post-Production Supervisor
Post production refers to the time period after the filming of the motion picture
takes place.
Composer
The composer is responsible for writing the musical score for a film.
Music Supervisor
The music supervisor, or "music director", works with the composer, mixers and
editors to create and integrate the film's music. In Hollywood, a music
supervisor's primary responsibility is to act as liaison between the film production
and the recording industry, negotiating the use rights for all source music used in
a film.
The Post-Production Supervisors
The Post-Production Supervisors role, while keeping the final intent of the
product in mind, is to provide solutions to common mistakes or changes to the
original script. They must for-see the challenges that will occur after filming is
done and then prepare to correct these differences accordingly. Because of the
portability of equipment and how the process of filming movies has changed,
many 'post' production decisions are now being made on the actual movie set
during filming.