Once the audio files are turned over to editorial, the decision must then be made on how to ingest the WAV files into the NLE (Non Liner Editor = editing software) for use during the edit while keeping the metadata completely intact.
This metadata can include the project name, scene, take, shoot date, sample rate, bit depth, timecode, tape ID, channel name, and many other useful bits of information. In addition to the audio tracks, these polyphonic WAV files include metadata, which is essential to most post-production workflows.
Typical layout for a Sound Devices SD788t Metadata This mix track, along with the individual mics, is recorded to a polyphonic broadcast WAV file for use by the post-production team. Using some or all of these individual microphones, the PSM will also create an additional mixdown track commonly used for dailies and editorial. In fact, it’s not uncommon to see track counts of 4, 8, 16 and more! These audio tracks typically include a boom mic (or several boom mics), isolated lavalier microphones (often called ISOs) as well as any plant mics placed around the set by the PSM. Many of these newer digital sound recorders have superior audio quality, timecode recording/jam syncing, and of course the ability to record more tracks simultaneously than ever before.
One of the main tools a PSM uses is a digital multitrack recorder. Today, production sound mixers (PSM) have access to tools that mixers in the past would only have dreamt about. In order to understand post-production audio workflows properly, we must start on the set and understand how the audio gets recorded. This article puts together a series of best practices for when it comes time for the turnover for sound, particularly as it applies to larger film and television projects. The less time I spend dealing with turnover issues, the more time I can devote to making a project sound amazing. I t is particularly crucial to establish this workflow with your sound editor well before postproduction starts.Īs a sound editor and re-recording mixer for television and film, it is often my responsibility to interface with the picture department to make sure I get what I need to do my job properly. With workflows getting more complex and post-production schedules getting tighter, it is more important than ever to have a clear and well-thought-out sound workflow in place.
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