In fact, it’s not uncommon to see track counts of 4, 8, 16 and more! These audio tracks typically include a boom mic (or several boom mics), isolated lavalier microphones (often called ISOs) as well as any plant mics placed around the set by the PSM. Many of these newer digital sound recorders have superior audio quality, timecode recording/jam syncing, and of course the ability to record more tracks simultaneously than ever before. One of the main tools a PSM uses is a digital multitrack recorder. Today, production sound mixers (PSM) have access to tools that mixers in the past would only have dreamt about. In order to understand post-production audio workflows properly, we must start on the set and understand how the audio gets recorded. This article puts together a series of best practices for when it comes time for the turnover for sound, particularly as it applies to larger film and television projects.
The less time I spend dealing with turnover issues, the more time I can devote to making a project sound amazing.
I t is particularly crucial to establish this workflow with your sound editor well before postproduction starts.Īs a sound editor and re-recording mixer for television and film, it is often my responsibility to interface with the picture department to make sure I get what I need to do my job properly.
With workflows getting more complex and post-production schedules getting tighter, it is more important than ever to have a clear and well-thought-out sound workflow in place.
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