ABSTRACT
Sound editor must hire a good production sound mixer along with a supreme boom person, and editor must know the pitfalls and traditional clash of production's form and function to "get it in the can" and on its way to the cutting room. Sound editor must know how to convey the parameters and needs to the non-sound departments, which have a major impact on the ability of the sound-recording team to capture a great production dialog track. In addition, Sound editor must know about the dangers and intrusions of cellular phones and radio-control equipment when working with wireless microphones. Sound editor must allow enough money in the equipment rental package, whether it is rented from an audio facility or whether it is the property of the sound person utilizing his or her own gear. It is important that Sound editor consult with their director of photography.
