Sound Designer

In the US, the role is called Sound Designer. Whereas in the UK, it is a Sound Editor

The Sound Designer is in charge of the film's Sound in Post Production.

When they receive the picture locked version of the film, they will edit the film's soundtrack in a Digital Audio Workspace (DAW) - such as ProTools, Adobe Audition, or Logic.

• The Sound Designer will firstly make sure that the dialogue is clear and able to be heard.

• If the Dialogue cannot be heard, they may have to bring in the actors for Automated Dialogue Replacement (ADR) - meaning re-recording the dialogue while watching the playback, to match precisely.

• They will create or source Sound Effects. This may include creating or sourcing Foley, which are sound effects that correspond with the actions of the character on-screen - e.g. footsteps, props, costume.

• They build the audio world of the space, with Ambience.

• They create the soundscape for the film - outside of what the Composer does (the score, or music) the Sound Designer may be able to create additional sounds.

• They mix the audio levels, to make sure the levels work between all of these elements.

Once the Sound Designer has completed the sound design (and once signed off by the Director and Producer), they send the audio stems as .wav files to the Editor. The Editor will mute the scratch audio, add the Sound Designer's audio, then will export the film.

For an AOTS project, we don't require a 5.1 sound mix. Stereo or 2.1 works for us. We use 48-kHz, 24- or 32- audio.

Sound Designers can work from anywhere in the world. Best practice is to have the Sound Designer planning the soundscape before shooting, so they can give the Sound Recordist a list of audio assets to record on set.

The Sound Designer works with the Director, Producer, Editor, and Composer. They must understand the creative and technical aspects of audio production. They are vitally important to the film doing well: because an audience can forgive a bad image, but they won't forgive bad sound.