Overview of the role
The dialogue editor works within the sound post-production team and is responsible for the elements of the sound edit that contain speech, including interviews, archive and voice over.
Dialogue editors organise, clean up and smooth out the materials turned over by the picture edit team to create a consistent sounding and well laid out set of tracks for the re-recording mixer to blend with the other elements of a soundtrack.
Sound used within a film can come from a variety of different sources and sometimes multiple interviews done in different locations over a long period of time are edited together. Part of the dialogue editor's responsibility is to help the re-recording mixer match these sources through the way they edit and process individual clips and how they organise their sessions.
The sound effects editor will use specialised digital audio workstation (DAW) software such as Avid Pro Tools or Steinberg’s Nuendo to “tracklay” and manipulate sound. Dialogue editors will also use a variety of other task specific software either as “plugins” within a DAW or as standalone programs. These enable a dialogue editor to remove clicks, hums and other artefacts of the filmmaking process, as well as to enhance speech captured in noisy environments.
Core responsibilities
These core responsibilities are provided as a guide and are not exhaustive. The exact responsibilities in a particular job will vary depending on the scale / budget band / genre of the production.
- Watch rough cuts and identify areas of concern that may need to be investigated by picture edit, i.e. missing mics, phase issues, material processed during picture edit that needs original source provided in turnover
- Be prepared for spotting sessions with notes, questions and possible solutions for problems that are likely to be raised
- Communicate technical and aesthetic ideas to clients who may or may not have deep technical knowledge
- Identify areas of concern to clients, come up with possible solutions
- Communicate with picture edit about turnover requirements
- Test turnover workflow before picture lock, provide feedback and work out solutions with picture edit about changes to workflow if required
- Check turnovers are delivered as agreed, communicate with picture edit about updates if required, i.e. missing material, processed material that needs reverting to original source
- Understanding of picture edit workflow and issues that can occur during transfer of materials between picture and sound
- Communicate with other sound editors about who will deal with which sound elements from turnover
- Arrange different sources (interviews, archive, voice over, plus sync and archive sound with no speech) from picture edit turnover into DAW session, using template from assistant re-recording mixer if provided
- Deliver appropriate materials to other sound editors based on prior communication, i.e. sending sync sound effects or non-dialogue archive to FX editor
- Clean up different sources and types of sound using appropriate methods and software, enhancing the original sound to achieve and exceed what clients thought possible
- Keep eyes and ears open for sync issues. Understand when these can be dealt with during dialogue edit and where they need to be raised with supervising sound editor and / or post production supervisor
- Understand the contribution of sound effects and music to the final soundtrack so that dialogue is not over or under processed
- Maintain and if possible improve clarity and intelligibility of speech at all times
- Take into account re-recording mixer preferences for processing and organisation of material
- Understand re-recording mixers role and the process of the final mix and provide options of different treatments and edits where appropriate
- Understand client intention so that any adjustments to performance or timing don’t change intention
- While legal decisions are not your responsibility you are a second pair of ears for the client. If certain words or references to certain topics and / or people have been removed in one scene, keeping an ear out for these in others is an appreciated level of attention to detail.
- Update sessions as new material is delivered, i.e. master archive or final voice over
- Maintain consistent organisation of session so that time is not spent by re-recording mixer re-organising session
- Re-conform elements in session based on picture edit changes
- Clearly label and notate decisions made and options provided in dialogue edit session e.g. where sync issues have been dealt with, where noise reduction options are provided and if changes have been made to picture editors choices of timing or performance
- Ensure DAW session tracks are laid out as re-recording mixer and supervising sound editor require, in a template supplied by assistant re-recording mixer if requested
- Ensure session is cleanly organised, with no extraneous material on timeline. Anything in the session must have a purpose, either as primary material or an option.
- Deliver as decided by supervising sound editor and / or post production supervisor, using either secure online service or in person
Skills
Check out role specific skills, transferable skills and attributes for the role of dialogue editor.
- Creativity: understanding the story being told and emotions the director is trying to achieve in an audience. Having the ability to sense when timing and performance is right. Offering ideas for treatments and processing which complement the film and its overall aesthetic.
- Wider interest: an active passion for sound and film. Historical knowledge of film sound and current trends in filmmaking can help identify sounds and styles asked for by a director.
- Attention to detail: from sync issues to deciphering an AAF turnover to preparing a session for turnover to a re-recording mixer, a high level of attention to detail is required.
- Highly organised: maintaining a clearly labelled and organised session that can be easily navigated by the re-recording mixer and supervising sound editor
- Problem solving: ability to provide creative and achievable solutions when issues with sound are spotted is essential. This could be anything from removing lighting hum to painting out an overlapping line of dialogue from an interviewer, repairing damage to archive to removing the sound of the crew behind an interviewees speech using an alternative take of a word.
- Collaboration: ability to work with the director and with other departments such as the assistant editor, picture editor and other members of the sound team.
- Calm under pressure: post production is the last stage of a long process. Issues and delays prior to post sound starting might mean that there is little room for error in the schedule and changes may be made right up until the final mix. Staying calm and on track is essential.
- Breadth of knowledge: deep understanding of sound software, knowing which provides the best solution for the problem at hand and the needs of the production. Understanding how your role in post works with the other departments and within your own department, to be able to manage your work to provide the information or deliveries needed at every stage of the production.
- Clear and accurate communication: ability to communicate with everyone across the post production process, including the ability to explain the technical to non technical collaborators. Concise and precise responses to problems and clearly laid out solutions to those problems. Ability to communicate creative ideas in an engaging way but also communicate with other departments to provide and explain technical processes and solution.
- Providing solutions: faced with challenging sound sources the ability and experience to devise creative solutions. Being willing and able to look beyond established workflows and solutions to solve problems.
- Taking direction: being able to adjust to different workflows based on the re-recording mixer or supervising sound editors preferences. Being able to work alone without supervision. Where appropriate using initiative to solve problems without requiring further direction from supervising sound editor or re-recording mixer.
- Flexibility: changing working methods depending on late arrival of materials, legal changes or deadlines. Being adaptive to picture edit changes.
- Time management: knowing when the requirements of a production may not be achievable and alerting post production supervisor or supervising sound editor. Being able to prioritise essentials and be clear about what is achievable in the current schedule. Able to adjust speed and detail of work to scheduled time whilst still delivering high quality results. Able to juggle needs of production with needs of supervising sound editor or re-recording mixer.
- Resilience under pressure: Deadlines can be moved and unforeseen delays can occur at any stage of post production. Picture edit changes due to legal issues may require re-conforming previously finished work.
- Proactively exploring new technology: sound technology is always changing, dialogue editors should always be aware and understand the latest additions to their toolkits. Know what new solutions are available and be able to communicate these with clients and other members of the sound department.
- Professional development: interest in the industry as a whole, suggesting any technical changes and advances which could be used to improve workflow. Interest in furthering personal knowledge and understanding of the post process to provide better work in the future. Sharing of knowledge and explaining the parts of the sound process to other departments or assistants to enable everyone in the process to offer better workflows.
- Highly organised: clear labelling of decisions and processes and maintenance of an organised session throughout post and especially on delivery to re-recording mixer. Multiple versions of processing may be needed to be delivered and these must always be clear to re-recording mixer.
- Time aware: able to adjust speed and detail of work to scheduled time whilst still delivering high quality results.
- Feedback: ability to take feedback and critique of work from both clients, supervising sound editor and re-recording mixer. Working with collaborators to achieve what they want is part of the process and changes should be made without personal feelings interfering.
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