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The production sound mixer is the head of the on set sound department and is responsible for recording the actors' dialogue during the filming of the production. After reading the script, mixer Tim Cooney determines what microphones and equipment will be needed. During filming, he records room tone and sound ambiance, directs the boom operator, and adjusts sound levels. Later, any unclear d…
The boom operator is responsible for capturing the actors’ dialogue by use of the boom microphone or concealed wireless microphones. Boom operating is a physically demanding job, requiring that the person fulfilling the job be in good physical shape. Boom operators must be strong enough to carry heavy equipment, yet agile enough to slip between lights and other apparatus without knocking th…
Generally an entry-level position in the sound department (unless there is an apprentice or production assistant working with the crew), the cable man sets up the sound equipment, runs the cable from the microphone to the sound recording equipment, and assists in placing radio mikes on actors when needed. Experienced cabler s also operate a second boom when needed or fill in for the boom operator …
A production soundman records on set sound. “Don't get caught up in money,” says soundman Detdrick McClure. Many refuse the opportunity to work, gain experience, and make contacts, because they will not accept low or no paying jobs. When you're starting out, “It's not about the money; it's about who you are going to be brushing elbows with. You have…
The ADR (automatic dialogue replacement) supervisor is responsible for the replacement of production dialogue that is unusable due to poor sound quality, script changes, and so on. For example, an actor's voice may be obscured by the sound of an airplane flying overhead during the filming of a scene, or by speaking too softly for the microphone to pick up. Substitutions also may be necessar…
Music editors coordinate the technical aspects of film scoring between the production company and the composer; they create the temporary score and assist in syncing the final score to film. First, music editors must have musicality and skill using music editing equipment. Second, they must be self-motivated and able to work on a very tight schedule. “Being diplomatic; able to listen carefu…
Compose music, write lyrics, or both, and often produce the music recording sessions. Most composers are adept at playing piano, sequencer, synthesizer, or a combination of the three, and most have the ability to produce the music they write. Success requires the ability to compose memorable melodies and lyrics. “Writing a score is a different skill than songwriting, where you come up with …
At DreamWorks, Todd Homme is responsible for all live action film and television music matters. He works closely with filmmakers to determine music needs and coordinates with his staff to fulfill their requests by contracting a composer, securing a previously recorded or original song, or procuring a sound track deal. He is also involved in the financial aspects of music use. A broad knowledge of …
The vice president of music for a studio or production company is charged with supervising music in both the production and postproduction phases, with an emphasis on pre-existing music. Some also hire composers and producers, and oversee the scoring and mixing process. “Being organized, responding properly, and keeping my word” are skills film/television music executive Celest Ray c…
Responsible for obtaining clearances for all music used in film and television projects and trailers produced by the company. A background in music publishing or knowledge of music licensing is required. “You have to be able to handle multiple tasks at the same time,” say music clearance executive Julie Butchco. “Literally, you're talking on the phone, researching a son…
A music supervisor is hired to oversee all the music that is used in a production, whether for film or television. The supervisor works closely with the director in selecting songs, choosing a composer, if one is used, and acquiring the rights for the production to use the songs. If there is to be a sound track, the supervisor will secure the record deal and work with the appropriate parties invol…
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