Supervising Sound Editor

Supervising Sound editors are the heads of their department and responsible for the well being of all post production sound. They are the main communication line between the director and the films soundtrack. They must have great overall knowledge in dialogue recording, ADR (Automated Dialogue Replacement, Foley (post-synchronised sound effects), and sound effects or music editing.

They should be able to invasion the films sounds requirements creatively whilst hitting ticking every box in the directors criteria

This is involves managing and working on sounds. The majority of Supervising Sound Editors also work as Sound Designers on the same film, so as said before you may be employed by Audio Post Production Facilities Houses, or work on a freelance hiring rooms and bringing your own equipment. Supervising Sound Editors work long hours under considerable pressure.

Job Role?

Supervising sound editor’s role varies depending on the budget and scale of the film. On low to medium budgets/scale films they start work when the director and producer have achieved picture lock (final approval of a scene), and work more hands on with the sound effects, ADR and sound effects. Though on big budget/scale film they will start work before the shooting begins and handpick supervisors to handle separate sound teams on set. e.g., amount of CGI (Computer Generated Images), different recording formats, additional recording/gathering, mixed frame rates, etc.

(http://www.creativeskillset.org/film/jobs/post_production_sound/article_4765_1.asp)

Manager duties can include sound budget control, organising work flows and shifts according to delivery schedules and making plans for any given circumstances or requirements. You will attend meetings after screen locks to discuss the sound effects and Foley you have to see if they fit with the aesthetics and see what sound you may still need  any that may be needed.

We may be required to oversee the recording of the Foley, the productions of the sound effects, the recording of voice actors, and the composition of music.

Further edits may have to be made after the audience previews, which is where after much feedback the film is re-cut for the pre mix. After the pre-mix has been done more editing can be expected for the Final-Mix, this can take between 6-12 weeks depending on how big the film is. Even after this you may have to stick around to oversee the process of different languages being added for world releases.

Typical career routes

Supervising sound editors have to work long hours, with heavy works loads, under a tight schedule. They must over see and manage all sound over the whole production, relay back to the director producers and others. Work on sound projects themselves. This requires extensive years of experience and they probably started from a sounds assistant or from working in sound studio’s as trainee’s

Essential knowledge and skills

They must have extensive knowledge of all sound e.g. Foley, dialogue, sound effects and all equipments require to record in all stages of there production.

Key Skills include:

• Ability to manage and motivate a team
• Excellent communication skills
• Excellent aural skills
• A methodical, organised approach to work
• Ability to work under pressure to tight, changing deadlines
• Precise attention to detail whilst also seeing the broader picture
• Organisational and financial skills
• Knowledge of the requirements of the relevant Health and Safety legislation and procedures

Training and qualifications

Supervising Sound Editors are usually graduates of Arts, Music, Electronics, Maths, or Sound Technology courses, who have also specialised in Sound at post-graduate level. Sound is one of the best served areas for film and television training in the UK with provision ranging from specialised short courses, to qualifications at HND, BA and post graduate levels.

Individual course accreditation in certain subject areas is currently being piloted. As part of Creative Skillset’s and the UK Film Council’s Film Skills Strategy, A Bigger Future, a network of Screen Academies and a Film Business Academy have been approved as centres of excellence in education and training for film. For more information, please log onto the Creative Skillset website.

Income

 Simply hired states the average pay is $57,000(http://www.simplyhired.com/a/salary/search/q-Sound+Design+%2F+Supervising+Sound+Editor)

Though The Career Development Center states the pay can range from per yeah $80,000 - $140,000+(http://www.berklee.edu/pdf/parents/music-industry-salaries.pdf)

(http://www.creativeskillset.org/film/jobs/post_production_sound/article_4765_1.asp)

Sound designers

Sound designers previously know an sound effects editors or special effects editors (SFX). They are responsible for providing sound for the screen action. They tend to have been experienced supervising sound editors who carry manager level roles. The will steer the entire post sound production team and as well as creating sound for giant explosions, they will make subtle sound effects that the audience may never notice though it enriches which ever part of the film its used in.

Sound effects are added to the film after production and during editing so the film is able to achieve its wanted identity, location, mood etc. Creating, transforming and positioning. You may be employed by post audio houses, or freelance work and hire a room next to the film production and may even provide their own digital equipment. This job can involve designers working long hours to meet demanding deadlines and schedules.

Job roles?

All depends of the film budget but sound designers usually start work at the same time as other sound editors. It may be before the shooting begins or straight after a scene has been shot and finalized.

You must identify and list the sounds need, they are three categories real Foley, atmospheric sound, and sound effects. After the list is finalized the sounds are the hunted down and recorded of made in the studio.

Typical career routes

All Sound designers ten to be sound enthusiasts having spent years recording and experimenting with sound before breaking into the industry. Sound design is a highly competitive area, so even the most highly qualified new comers must be prepare to start at the bottom. They usually progress from being Runners in Picture or Sound cutting rooms, or in Audio Post Production Facilities houses, to becoming Assistant Re-Recording Mixers or Assistant Sound Editors providing back-up to experienced Sound Editors.

Sound designers tend to have spent a considerable amount of time learning there craft, by working for tv productions or by having a background in music. Many Sound Designers are also Supervising Sound Editors, or Re-Recording Mixers.

Knowledge and skills

As well as a love of sound you must have a great knowledge and past experience in sound both acoustic and digital.

Key Skills include:

·         Excellent aural skills

·         Creativity and imagination

·         Ability to work conceptually

·         Excellent communication skills

·         Ability to work under pressure to tight, changing deadlines

·         Organisational and financial skills

·         Knowledge of the requirements of the relevant Health and Safety legislation and procedures

Training and qualifications

Competition to become a Sound Designer is increasingly high and even those entering the film industry at junior levels have a B.Mus (Tonmeister) or similar qualification. Many Sound Designers have also specialised in Film and Television Sound at post-graduate level. Sound is one of the best served areas for film and television training in the UK with provision ranging from specialised short courses, to qualifications at HND, BA and post graduate levels.

Income

·         Starting salaries can be from £13,000 a year full-time equivalent

·         With experience, salaries can rise to between £20,000 and £40,000

·         Freelance earnings can be higher or lower, depending on reputation and how much work is available.

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(http://www.creativeskillset.org/film/jobs/post_production_sound/article_4771_1.asp)