CAREER SPOTLIGHT: SOUND There are many positions dealing with sound... during production and post.... SOUND RECORDIST A member of the sound crew responsible for operating the audio recording equipment on a set. SOUND ENGINEER Sound Engineers operate consoles and other equipment to control, replay, and mix sound from various sources in live concert performances and in the production of records, tapes, and films. Sound crews also install and hookup equipment. The sound crew is supervised by the sound mixer. The sound crew may also have a number of assistants. Workers may also work as utility sound operators, sound cable workers, maintenance design sound engineers, microphone operators. SOUND ASSISTANT Sound Assistants are the third members of the production sound crew and provide general backup and support to the production sound mixer and the boom operator. They are responsible for checking all stock, microphones and batteries and making sure that the sound department runs as smoothly as possible. On large scale productions, Sound Assistants may be called upon to operate the second boom, recording all off-camera lines of dialogue, i.e., lines spoken by characters who do not appear on screen. Sound Assistants usually work on a freelance basis with the same production sound mixer and boom operator. Most Sound Assistants work on both film and television productions, unless they work with a production sound mixer who works exclusively on feature films. The hours are long and the work often involves long periods working away from home. What is the job? Sound Assistants usually begin work on the first day of shooting, arriving on set half an hour before call time, with the rest of the sound crew. They help to unload the sound van, and working with the boom operator, check that all equipment is prepared and fully operational. During the directors rehearsals with the director of photography and actors, sound assistants must pay close attention in case they are required to move positional microphones, or assist the boom operator to plan for difficult shots. Sound Assistants also help to lay carpet if required to stop any unwanted noise being picked up from the studio or location floor. When other members of the crew or guests visiting the set use headphones with audio receivers to check for dialogue continuity, it is the Sound Assistants responsibility to ensure that they are in good working order, and that their batteries are fully charged. If there is unwanted noise during recording (talking, coughing, traffic, etc.), Sound Assistants are required to find the source of the problem and deal with it as quickly and tactfully as possible so that the shooting schedule is not disrupted. Sound Assistants help the production sound mixer to attach clip microphones to actors clothing. They also help the boom operator to negotiate cables on the studio floor during recording, and at the end of each shooting day, to ensure that all the sound discs containing the sound rushes are correctly packaged and labeled. They are employed until the end of the shoot, when they make sure that all equipment is carefully packed away and that any remaining sound paperwork is handed over to the production office. On large scale productions where Sound Assistants are required to swing a second boom, sound trainees are usually employed to perform general running duties (making tea and coffee for the sound crew, helping with unpacking, cleaning and setting up all sound equipment, etc.). They also shadow the production sound mixer and boom operator, learning while gaining invaluable on the job experience. SOUND DESIGNER Sound Designers are responsible for providing any required sounds to accompany screen action. They work closely with the production mixer, sound supervisor, the editor, and the director to create original sound elements. They may work with the director to create the entire soundtrack, or be hired just to create one kind of effect. Most Sound Designers are experienced sound editors who often carry out a managerial role. They may supervise the work of the entire sound post production process as well as having a specialized role in creating the sound concept for the production. Sound effects are added after filming during the editing process to give the film an authentic sense of location or period, or to give it a particular mood. They may be employed by audio post production houses, or work on a freelance basis and provide their own digital audio workstations. They are also likely to own their own recording equipment. Good communication skills are needed, along with imagination and creative flair to produce original sound elements and effects. The ability to accept direction and work well with others is also important. Sound Designers must have a good understanding of acoustics, and an expert knowledge of sound recording and analog and digital editing techniques. Sound Designers are enthusiasts who have usually spent years recording and experimenting with everyday sounds before entering the industry. They often progress from being runners in picture or sound cutting rooms, or in audio post production facility houses, to becoming assistant re-recording mixers or assistant sound editors providing backup to experienced sound editors. They may also have a background in music or may have learned their editing skills working in television production. Many Sound Designers are also supervising sound editors, or re-recording mixers. SOUND EDITOR A Sound Editor creates the soundtrack by cutting and synchronizing to the picture, sound elements, such as production wild tracks, dialogue tracks, library material and foley in analog or digital form and presents these to the re-recording mixer for final sound balance. Depending on the complexity and the tightness of the schedule it may be necessary to employ a dialogue editor and/or foley editor. They work closely with the sound designer, re-recording mixer and the director to establish what sound effects are required throughout the production and to ensure that these effects are available from sound effect libraries, or can be created to production requirements within tight time schedules. Must be computer literate and have a good working knowledge of sound recording, playback, editing and mixing equipment, also experience in the various soundtrack delivery systems. Excellent hearing and a good sense of timing are required, as are attention to detail and good communication skills. Supervising Sound Editors are responsible for all sound post production. They are the directors main point of contact for everything concerning the production soundtracks. They must have a good grounding in dialogue recording, automated dialogue replacement, foley and sound effects or music editing. On big budget film and TV productions they usually start work before shooting begins and appoint specialized Sound Editors to supervise separate teams for each area of work. For smaller productions they will be more hands on. They are responsible for the sound budget and managing the schedule to ensure it goes to plan. Sound Editors must have an excellent working understanding of acoustics, sound recording processes and electronics, and an expert knowledge of all post production sound equipment, processes and procedures, both analog and digital.
Posted on: Tue, 02 Sep 2014 14:53:33 +0000
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