SUPERVISOR AND DESIGNER
I usually combine the sound designer and supervising sound editor jobs, as I prefer having the same person being the designer and the manager.  Under this “two-hatted” structure I ensure that the creative concerns of the sound designer are at the top of my priorities as a supervising sound editor.  However, on larger projects, I can foresee the need to adopt the more traditional model of having two separate individuals fulfill these responsibilities.

CONTACT WITH PRODUCER AND DIRECTOR
The first priority is to make an evaluation of the project to be done.  A strict reading of the script and meeting with the director, producer and the post production supervisor will allow me to understand the needs in terms of sound. We will develop an appropriate work schedule, taking into account the budget and milestones. At this point, I must identify all potential problems and solutions.

BUILDING THE SOUND TEAM
When the film is officially scheduled, the supervising sound editor is in charge of finding the proper team for sound editing and mixing.  I believe in long-term creative relationships based on thrust and friendship.  Among those, Mireille Morin, dialog editor and ADR supervisor and Simon Meilleur, foley artist.  They have mastered their craft with immense precision, passion and dedication.  Both of them are very precious collaborators.

FOLLOW THE WORKFLOW
The supervising sound editor follows every step of the process (dialog editing, foley, ADR recording and editing, sound effects and mixing) making sure we have everything necessary to create a mix that meets its expectations.

EFFICIENT AND ON TIME
My task is also to ensure that sound post workflow is fluid and efficient to arrive at the destination, the Print Master,  in one piece and on time.

EvernoteLinkedInGoogle ReaderEmailFacebookGoogle BuzzTwitterGoogle BookmarksTumblrShare