Sound Track

Generally during the "producing sound" process the people you would have on hand to help decide what type of music, effects you would like would be the director, sound designer, foley artist and any artists or musicians you would like help to plan. primarily you would have the director there guiding people and telling everybody the sort of track he would like to hear, compared to if he wasn't there nobody  would know what to do as they wouldn't know what the director wants without any sense of direction. likewise you would need the sound designer to work with the director discussing what he/she can do in terms of placing the sound in certain scenes and possibly playing with different mixes or play other similar tracks which could further guide everyone to deciding a soundtrack. you may also need the foley artist to help decide where and where not there should be foley sound in the scene, and also to discuss blending the foley with the soundtrack produced by the sound designer. if you would like a lyrical score also, musicians and artists can work with the sound designer to work on an idea for a song.

also during the sound production process, the director and sound designer will go through each scene and sound spot. this is where the director and sound team will devise a schedule which will organise what needs to be created or placed in each part of the scene.

once the sound has been produced and has been added to the scene  the sound team will picture lock the scene, which means that the team can no longer edit the sound in the scene and the scene or shot has been locked and ready for the team who edits the whole film together.

when recording sound it doesn't always go to plan, so generally on set there is always a back up plan. for instance if you decide to shoot an important conversation in Liverpool street station the sound team will have to consider the amount of people there but also the echo as its a big station so maybe a boom mic would be appropriate for this particular scene however if this fails somehow, a back up mic like a shot gun mic could achieve similar results as it is directional meaning if you point it at the actor it will only pick up what they are saying, its also big enough to be placed on the end of a boom pole.

planning what type of sounds you would like in the shots are also important as you need to know how you are going to record these sounds. so if you want to have explosion sounds you will probably have to record them on sight in a safe area or use stock footage, whereas if you want to emphasise somebodies walk you may want to ask the foley artist to record some foot steps in the studio using a shot gun mic which allows sound to be picked up from multiple areas but is directional so if you are recording the footsteps with a crowd behind you the mic will pick up more of the actual footsteps because the mic is facing the other way. if you have recorded dialogue on top of a mountain where its very windy you may want to ask the sound designer to record the same dialogue in the studio to be dubbed over the top of the footage, this is called A.D.R (automated dialogue replacement), during the process of recording A.D.R the actor which was in the scene will watch the footage whilst following with the script, after the actor is familiar with the scene he/she will begin to rein act the dialogue and the sour designer will match the dialogue being recorded with the scene until both the the footage and the sound sync.