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Prepping audio for post

chilipie

chilipie

Pro Member
indiePRO
Looks like I've found someone to do audio post for the feature I edited - now I just need to work out what they need from me and how to get it to them.

I know I'll need a video with timecode visibly burnt into it. From what I've read, it seems an OMF file with anything from one to five second handles on each clip is the best way of sending over the audio (I'm cutting in Final Cut, I don't know what they're using yet).

For the sound editors here, what do you want from the editor and director? I'm talking technically and creatively - should I drop in rough sound effects and ambience, what kind of comments do you like from the director before you start, and what are the things that annoy you most that the editor could fix, etc.?

Cheers!
 
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Here's my request list:

A high resolution .dv stream of the visuals with a small time-code burn and the audio included.

A 2-pop in and a 2-pop out. This insures the sync.

OMF2 with ten (10) second handles.

Room tones.

Dialog wilds (if any).

Foley/sound FX wilds (if any).

The audio from all of the unused takes separated into folders by scene.

You give it to me on a drive (500 gigs for each 30 minutes) and I also need a back-up/storage/archive drive. (I personally request Glyph drives, the one and only drive that has never crashed on me.)



As to the creative side...

Tell me what is the film about in ten (10) words or less. Please, don't tell me the story/plot. I want something like "It's about finding yourself," "It's a psychological thriller," It's about taking chances," "It's a murder mystery," "It's about making choices," "It's a romantic comedy," etc. It's amazing how many directors can't do that.

Tell me about the important characters - personality, motivations, etc. That gives me an idea of how to approach the Foley for those characters. (Example - Buddy was abused as a child; he's completely obsessed with revenge.)

Give me an idea of the feel/mood(s) you want for the whole piece and scene by scene.

Remember that you've been living with this project for a long time, I'm probably seeing it for the first time; so don't take it for granted that I will know things. However, don't overload me with trivia. If you have very specific sounds in mind either obtain them beforehand, or be prepared to describe them in detail and have an example ("kind of like the gunshots in XXXXXXX" and bring the DVD with you); there's nothing worse than four hours of "I'll know it when I hear it."

If you are with the audio post person during editing and/or mixing be patient; you'll ask me to do XYZ, so I'll go make the change, listen, go back and tweak some more, listen, etc. Don't ask questions or make additional suggestions while I'm working - I can't listen to you and the film at the same time. Have a pad to keep track of your suggestions, comments, etc.

Again, be patient; you'll have points where the mixer will want to listen for several consecutive minutes, so keep your mouth shut (and use you pad/pen) until s/he stops playback, then make your comment.
 
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Alcove Audio said:
You pay, I play.

I even do the occasional pro bono for exceptional projects.
Click to expand...

Absolutely. I hope I wasn't implying anything else. Like a lot of us, I have some big plans for the future and it's always nice to check some things off the list "for when I get there, this is what I plan to do."

I'm a planner. No harm, I suppose, unless you mislead someone. The proof would be when I contact you about it. I wouldn't waste your time or my reputation with anything but a funded project that requires services that you provide.
 
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Thank you so much Alcove, that was exactly what I needed! I'll be speaking to the post guy in more detail over the next couple of days, and so we're hopefully on roughly the same page now. I'm sure I'll be back with more questions over the next few weeks :)
 
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