ABSTRACT
Whether the project is a simple TV programme that will be tracklaid and mixed by the dubbing mixer in one studio session, or a feature that has a team of editors working on the dialogues, the main aim at this stage is to edit the production sound in such a way that a scene is perceived by the audience to be a continuous piece of audio, much as they would hear it in reality. The editor uses audio editing techniques to make each shot transition inaudible to the ear, masking the fact that each scene is made up of an assembly of discontinuous audio sources. It is an important but essentially invisible art because the audience unconsciously expects to hear naturally flowing dialogue. Any poor edits, sync problems, jumps in performance or badly fitted ADR will immediately pull the audience out of the story and interfere with the narrative flow.
