ABSTRACT
The production sound and locked picture will be turned over to sound editorial. Sound editorial must gather the various broken pieces of the production sound process and put them back together again, in addition to creating the sound effects and ambiences that creatively bind the entire soundtrack together. Like a field commander carefully deploying forces, the supervising sound editor divides the work, assigning a specialist to each aspect of the sound tasks. Understanding how to sync up sound and make it work is one thing; it is far and away another to know how to massage the material and make a special audio event from a handful of common audio cues. If the footsteps are performed to frame-accurate sync, then texture and character are sacrificed, and vice versa. When hard-sync cutting is being done for final work, however, let picture editorial knows sound editor will only accept video transfers done by a legitimate telecine facility that will resolve their drives.
