The Sound Department is responsible for capturing all the sounds you hear coming through the screen when a film or programme is shown or broadcast, – from doors opening and closing to intimate dialogue - and ensuring that the final result is perfectly balanced.
There are many different specialists in the Sound Department. They include:
Production Mixers record sound on location or in a studio, usually in synchronisation with the camera, to ensure that the highest quality ‘real’ sound is recorded at the time of filming/recording. They work closely with the Boom Operator, Sound Editor and Director to ensure that the highest quality sound recording is produced.
The Boom Operator works closely with the Production Mixer, and is responsible for achieving the best quality sound recording. They will operate the long ‘boom arm’ either handheld or dolly mounted with the microphone attached, manoeuvring it as close to the ‘action’ as possible without getting it in shot.
Re-recording mixers work with dialogue, music and sound effects. They work as part of a team to combine, balance and adjust a film or television programme’s audio elements, including original production sound, re-recorded dialogue, effects, and music into a sound track.
A Sound Editor creates the sound track by cutting and synchronising to the picture sound elements such as production wild tracks, dialogue tracks, library material and Foley and presents these to the Re-recording mixer for final sound balance.
A Dialogue Editor assesses original production sound tracks for the clearest reading of dialogue and corrects imperfections. Assesses which dialogue and effects lines must be replaced, arranges the ADR (Automatic Dialogue Replacement) sessions, may direct the artistes if the Director is not available, and fits the resulting sound tracks to ensure perfect sync with the picture.
The Foley Editor assesses the amount of sound synchronisation required after shooting. Prepares the picture for the Foley session, directs the footsteps artistes and fits the resulting sound tracks in sync with the picture; also facilitates the production of a Music and Effects track for international versions.
The Sound Designer interprets the requirements of a production in terms of sound collection. They will work closely with the Production Mixer, Sound Supervisor, the Editor, and the Director to create original sound elements to production requirements, using synthesisers and combinations of sounds.
The Sound Supervisor oversees the sound post-production process of a film or television programme creatively and managerially. They work closely with the Director and Sound Designer to co-ordinate the sound editing and mixing processes and make the final decisions on sound editing. They may also manage the budget and schedule. In Television, the Sound Supervisor will also be the balance engineer, having control over the programme sound element.
The following members of the Sound Department are available to provide CineMasters classes. For a list of credits, courtesy of IMDb, please click on the link.
This will create a link to IMDb. The Cine Guilds is not responsible for the content of external links:
| ||Andrew Boulton||Head of Sound NFTS; Dr Who (1975)*||IMDb Credits|
| ||David Hall||Far From the Madding Crowd, The League of Gentlemen, Shameless||IMDb Credits|
| ||Sandy MacRae||Bleak House*; Firelight||IMDb Credits|
| ||John Rodda||Little Britain*; Shackleton||IMDb Credits|
| ||John Crumpton||See No Evil, Titanic - Birth of a Legend, Sparkhouse||IMDb Credits|
| ||Haresh Patel||The Truth About Food; Enduring Love||IMDb Credits|
| ||Chris Roberts||Dalziel and Pascoe*; 102 Dalmatians||IMDb Credits|
| ||Chris Gurney||Midsomer Murders*; Worzel Gummidge||IMDb Credits|
| ||Dave Humphries||Longitude; Shackleton||IMDb Credits|
*some episodes only
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