This post will discuss strategies regarding preparation for audio post and turnover to an
audio post mixer or facility. Audio post requires the final edited audio tracks from the
non-linear edit timeline. Ideally this will include a flash frame of video and audio pop at
the head and tail of the movie file. This can be delivered a number of ways but most
often it is exported as an OMF file, which the majority of leading NLE’s export. The
other essential part is the final edited movie file which is an exact conform of the OMF
export. This movie file will contain the flash frames and ideally will include timecode
burned onto the file. We sound guys like to know that we are frame accurate and
timecode burn-in is an ideal way to keep things in check. The final movie file should
also contain the stereo temp mix that was prepared with final picture edit. This track will
serve as the sound editors’ guide track and is a key delivery in audio post turnover.

The picture editor holds all the audio keys for a successful mix. If production captured roomtone during the shoot, (I hate to say “if”!) it should be either on the timeline or put in an “additional audio elements” folder. If wild lines, additional dialog or additional production sound effects (creaky floors, idiomatic doors or windows etc.) were captured, all of that should be in the OMF or added to an “additional audio elements” folder. Any extra audio bits will be useful as the sound editor preps for final mix. Why not just dump all the production DATs or camera tapes onto the sound editors console? Two reasons: time and money. Picture editors have the advantage of making those first digitized files and have lived with these files for weeks, sometimes months. The sound editor will get a tape and an OMF and be told “I’ll be back tomorrow for the mix.” If you want to pay hundreds of dollars an hour for a sound editor to audition DATs, go through sound logs, a lined script and sound reports he’ll gladly do it, it’ll just push your mix date and increase the cost of the work. I will also state (an old song I love to sing) that having roomtone will save hours and hours of time in the dialog edit. Can roomtone be created? It can but be aware that creating roomtone from the handles of audio regions is time consuming, difficult and will compromise the quality of the dialog edit as well as – the budget.

Let me add a note regarding the aforementioned “additional audio elements” folder. I suggest that if there are music tracks within the edit timeline that have been edited, chopped up or generally rearranged – include the full music track WAVs in this folder. The OMF file will only contain the edited track with only the predetermined handles. When time for the mix rolls around and the Producers or Directors want to get “creative” with their music editing, if a track is highly edited the sound editors’ hands are tied. He or she will need that complete, unedited track to work with. Music in particular must be cut on beats and if the delivered OMF handle doesn’t have a full bar or four count the music edit may be impossible to achieve without the full track. I would also suggest as noted include roomtones from each location, include wild lines, alt takes of known bad dialog, additional production sound effects, anything that may have not made it to the edit timeline. Include any additional audio that may prove useful at the sound mix. The picture editor has lived with this project, understands what has been discussed regarding the good, the bad and the ugly and knows “where the bodies” – OK files, are buried. The sound editor will be brought in after many meetings, discussions, changes, re-shoots and re-edits occur and will be given very little time to re-edit, master and mix the finalsoundtrack. From personal experience I can attest that the very best picture editors are also meticulous with their sound and do provide the elements they know the sound editorwill find invaluable. Their picture edit is fantastic, their temp mix is great and they cluethe sound editor in to all the pitfalls, problems and mistakes.

There are a thousand exceptions and more to all of the notions mentioned above. Every
project is unique and has a unique set of problems, needs and solutions. The point being
made here is that in audio post “more is more.” If the editor has created an additional
folder of audio materials they are saving hours, possibly days of work for audio post.
Why does that matter? Time and money. I’ve posted projects that were airing that very
night! There is literally no time to scan tapes for missing dialog, alt or wild lines and so
on. The picture editor probably knows where things are, so be nice to them and hope
they return the favor. As in all things in life there is the golden triangle of service – fast,
good and cheap – which two do you want? Audio post fits this model well. Bring a big
check if the edit is a mess, elements are missing and you need it tomorrow. As with
every stage of filmmaking it’s all about the preparation and audio post will require at
least some of the things discussed here for a successful sound mix.

Check back soon for my tips on proper dialogue-editing techniques.