ABSTRACT
All through a film's evolution, sound endures uneven recordings, mismatching formats, missed opportunities, temp voices, temp music, and temp sound effects. It suffers clipped lines, radio interference, line static, digital zits, dramatic level shifts, noisy backgrounds, fluorescent ballast, power hums, and just about every other insult and shortcoming a sound engineer can imagine—not to mention ignorance, carelessness, and mindlessness. The project experiences noncommunication, miscommunication, misinformation, improperly entered data in the code book, improperly transferred material, lack of notations in the production sound report, let alone physical misplacement or total loss of materials. The supervising sound editor enters into a series of meetings with the director, picture editor, and producer(s), covering a wide range of audio concepts and concerns. Budgeting and bidding on a project based solely on reading the script is extremely difficult, however.
