ABSTRACT
On a typical small fi lm, you’ll meet with the director two or three times: just after the OMF or autoconform is opened and checked for accuracy, near the end of your editing, and perhaps again just before the dialogue premix. Depending on the dynamics of the sound department and the fi lm’s budget, you may see the director more often or you may have no meetings at all with her, turning instead to the supervising sound editor for guidance.
