What is Audio Post-Production?
Audio Post-Production is the process of creating the soundtrack for a visual program of some kind. Ever since silent movies began to talk, filmmakers have been looking to control and improve the quality of the sound of their creation. As soon as creators realized there was a way to control and enhance the sound of their pictures, Audio Post was born, and has been a fact of life ever since. In Television, audio was originally "live", like the visual program it was part of. As TV evolved, and the art form grew to include "videotaped" and "filmed" programming, the need for Audio Post increased. Nowadays, it would be difficult to find any feature film or television show that hasn't been through audio post.
What is involved in Audio Post?
Audio Post usually consists of several processes. Each different project may need some, or all of these processes in order to be complete. The processes are:
- Production Dialogue Editing
- ADR (Automated Dialogue Replacement - if needed)
- Sound Effects Editing and Design
- Foley Recording (human sound effects recorded in sync with picture)
- Music Composition and Music Editing
- Mixing (also called re-recording)
What is Production Dialogue Editing?
In order for the production audio recorded on the set or on location to be properly mixed, a Dialogue Editor needs to properly prepare it. This means locating the proper take from the recorded production audio, checking sync (so it actually works with the picture properly), and eliminate extraneous noise so the Mixer has clean dialogue to use during the Mix.
What is ADR?
In cases where the production audio is too noisy, or otherwise unusable (bad line reading, airplane fly-by, etc.) the Dialogue Editor will "cue" the line for ADR. This means replacing that line or lines of dialogue using the Automated process of Dialogue Replacement. This process takes place on the ADR Stage, a specialized recording studio where the actor can record lines in sync with the picture. Once a replacement line of dialogue has been recorded, the Dialogue or ADR Editor will check the sync carefully, editing the take if necessary to precisely match it to the picture, and prepare it for the Mixing Stage. This process is also known as "looping".
What does Sound Effects Editing and Design entail?
The process of adding sound effects (backgrounds like: air, rivers, birds, traffic, and hard effects like: gunshots, door slams, body falls, etc.) has been the domain of sound effects editors for years. Although originally edited using 35mm magnetic film, recent years have seen the development of many different Digital Sound Editing systems. More and more projects are using digital technology because of the efficiency and quality it can bring to sound effects. Sound Designers use digital and analogue technology to create sound effects that have never been heard before, or to artistically create specific "mood" sounds to complement the director's vision of the visuals.
What is Foley Recording?
Taking its name from Jack Foley, the Hollywood sound effects person generally regarded as the "father" of these effects, Foley effects are sounds that are created by recording human movement in sync with the picture. Different from the environmental backgrounds and hard effects that comprise edited sound effects, Foley effects are sounds like footsteps, prop movement, cloth rustling, etc. The players involved in this process are the Foley Mixer, who records the sounds, and the Foley Walkers who create those sounds. After the Foley Effects are recorded, the Foley Editor will make any slight timing adjustments necessary to ensure that they are exactly in sync with the final picture.
What does Music Composition and Music Editing entail?
Music for film/TV falls into three general categories: Score, Source and Songs. The Composer is the individual hired with the responsibility to prepare the dramatic underscore. Source music is that music we hear coming from an on screen or off screen device of some kind; some examples are radio source music, phonograph records, TV show themes, when seen on a TV set in the shot, and many other similar variations. Source music may be original, or licensed from a number of libraries that specialize in the creation of "generic" music. Songs may occupy either function, depending on the dramatic intent of the director. Using "Pulp Fiction" as an example, Director Quentin Tarantino hired a Music Supervisor (Karyn Rachtman, FYI) to "score" the picture using period music of the 1970's almost exclusively. Most contemporary films use a combination of score and source music.
Meanwhile, the Music Editor assists the Composer in the preparation of the dramatic underscore. Frequently working also with the Music Supervisor the Music Editor will take timings for the Composer, (usually during a spotting session )in order to notate the specific locations in the film where underscore or source music will punctuate the narrative. Once the underscore is recorded, and the source music gathered, the Music Editor will usually be the person who edits or supervises the final synchronization of all music elements prior to the mix.
What is Mixing?
Mixing is also called Dubbing. The Mixers have the responsibility of balancing the various elements, i.e., - the Dialogue (and ADR), Music, Sound Effects, and Foley Effects, in the final mix. The Dialogue Mixer, (also called the Lead Mixer or Gaffing Mixer) commands the mixing stage; his partners in the mix are the Effects Mixer and the Music Mixer. On large features, it is not uncommon to have an additional mixer handling just the Foley effects. On huge pictures with tight deadlines, it is possible that several teams of mixers are working simultaneously on numerous stages in order to complete the mix by the release date.
Where does post-production begin?
If you haven't shot your film yet, it begins before you shoot - by selecting the finest production dialogue mixer you can afford. The little bit extra paid to a great production mixer can save you tenfold later in post-production.
Is Audio Post needed during editing?
Well, yes. During the editing you may still need reprints of selected takes or outtakes. The audio post facility will duplicate these for you. But the real job is starting to come into view: the locked cut.
What is the locked cut?
In short, the final version of the finished film. Although it may receive a small edit here or there in the next few weeks, the film is essentially "locked" into this form.
What happens once the cut is locked?
Audio Post begins now in earnest. Once the cut has been locked, the film can be spotted for the placement of sound effects and music. The Supervising Sound Editor, the Director and possibly the Film Editor and Composer will gather at one or more spotting sessions to determine the film's audio post needs. "Spotting for music" is the process of viewing the locked cut and deciding where the music score will be, and where the source music will be needed. "Spotting for sound" is the process of determining:
- If and where any dialogue problems may exist, so that ADR can be cued to be recorded
- Where sound effects are needed and what kind
- What Foley effects will be needed in the film, and where
- If Sound design (the creation of special sound effects), will also be needed.
What actually happens after 'spotting'?
The real job of audio post has now begun. In the next weeks or months, the sound editors will locate and synchronize all of the sound effects needed in the film. If necessary, they will create Field Recordings of new sound effects needed for the film. The Foley supervisor will cue all of the Foley effects that will be needed; they will be recorded by the Foley Mixer and the Foley Walkers; the ADR supervisor will cue all of the Automated Dialogue Replacement lines that need to be recorded during the ADR sessions, and the Music Editor will begin providing for the needs of the Composer and/or music supervisor. The Dialogue editor(s) will begin preparing the production audio for final mixing, and the ADR editors can commence editing in the ADR lines, once they have been recorded. Typically, the next few weeks or months are occupied with sound editing of all types. The Director will be checking on the various aspects of the sound job as time progresses, to be sure that his vision is being realized. Usually, there is provision for one or more "effects reviews" where the effects are listen to and approved. The same goes for Foley, Dialogue, ADR, Sound Design and Music. When everything is completed and approved, the next step is Mixing (also called 'dubbing' or 're-recording').
What happens during the mix?
During the mix, the edited production dialogue and ADR, sound effects, Foley and Musical elements that will comprise the soundtrack are assembled in their edited form, and balanced by a number of mixers to become the final soundtrack. In New York, single-mixer sessions are more commonplace than in Hollywood, where two-mixer and three-mixer teams are the norm. The mixers traditionally divide the chores between themselves: the Lead Mixer usually handles dialogue and ADR, and may also handle music in a two-man team. In that case, the Effects mixer will handle sound effects and Foley. In three-man teams, they usually split Dialogue, Effects and Music; sometimes the music mixer handles Foley, sometimes the effects mixer covers it. To keep the mix from becoming overwhelming, each mixer is actually creating a small set of individual sub-mixes, called STEMS. These mix stems (dialogue, effects, Foley, music, adds, extras, etc) are easier to manipulate and update during the mix.
When mixing is done, what then?
After the mix is completed and approved, films generally require a last step called Printmastering that combines the various stems into a final composite soundtrack. When this is completed, an optical or digital sound track can be created for a feature film release print. It is also usual at this time to run an 'M & E' (which stands for Music and Effects) track. This is essentially the film's soundtrack with the English language dialogue removed. This allows foreign language versions of the project to be dubbed easily, while preserving the original music, sound effects and Foley. During the M & E, effects or Foley that are married to the production dialogue tracks are removed along with the dialogue. To "fully-fill" an M & E for a quality foreign release, those effects and Foley must be replaced. Television movies usually do not require print masters, unless they have been created using SURROUND SOUND techniques. In most cases, the final stems are combined during a process called LAYBACK, at which time the soundtrack is united with a final edited master videotape for ultimate delivery.
What about optical soundtracks?
Almost all of the release formats, including the digital ones have provision for some kind of optical soundtrack, even if only as a backup. The optical soundtrack refers to the two-channel soundtrack that is carried on the optical track of the film release print.
How do I get an optical soundtrack?
Once your surround sound format has been selected (see the paragraph below for more), you need to order an optical soundtrack negative for the film. In the case of LCRS mixes, a traditional two-channel; Printmaster track is created, and this is sent to an optical sound house for the creation of the optical negative. The optical sound house will record the soundtrack onto 35mm film using a special camera, and some will also develop their own soundtrack masters. Once the optical negative is shot and developed, it can be incorporated into your answer printing process, and a composite answer print containing your complete soundtrack can be printed or "shot" at your film lab. This usually happens during the first or second trial answer print phase.
What about: THX - Dolby - Ultra*Stereo - DTS - SDDS?
THX specify a set of standards that affect how sound is recorded and reproduced in a movie theater. You get the benefits of the THX standard whenever you mix in a THX-certified mixing stage. There is NO additional fee required. You may display the THX logo in your film's credits if you sign a simple one-page form.
>Dolby Surround is a 4-channel optical surround format; this format is encoded in the optical soundtrack. You must license this format from Dolby Labs; there is a license fee for this service.
Ultra-Stereo is a 4-channel optical surround format; this format is encoded in the optical soundtrack. You must license this format from Ultra-Stereo Labs; there is a license fee for this service.
DTS is a 6-channel digitally encoded surround format; this format is encoded on an external CD-ROM, but the timing and other information in encoded on the film release print; you must license this format from Digital Theater Systems (DTS); there is a license fee for this service.
Dolby Digital is a 6-channel digitally encoded surround format; it is encoded on the film release print; you must license this format from Dolby Labs; there is a license fee for this service.
SDDS is an 8-channel digitally encoded surround format; it is encoded on the film release print; you must license this format from Sony Corporation - SDDS division; there is a license fee for this service.
