Music Editing for Film and Television

The Art and the Process

Steven Saltzman

• Publisher: Routledge
• Year: 2014
• ISBN:
  9781136667978
• Edition: 1
• Topic: Media & Performing Arts
• Subtopic: Music Theory & Appreciation

Making music for the movies is a complicated, involved, and challenging process. Music Editing for Film and Television covers the practical skills needed to successfully hone your craft. Through an overview of the music editing process, this book will equip you with detailed techniques to solve musical problems encountered during editing. An abundance of interviews with well-known professionals provide a wide range of perspectives on music editing for film, while special features address an array of projects, from a low-budget documentary, to a Hollywood blockbuster, to indie projects.

Chapter 1

Postproduction

1.1 WHAT’S WHAT

Most audio-visual entertainment projects including films, television shows, online sitcoms, or computer games, have many facets to their production and there are many steps needed to ensure their success.

Production is generally divided into three parts:

● Part one: preproduction This is when a script is written, visual design concepts are formulated, and the project is “green lit,” meaning it has the go-ahead to proceed to the next stage. At preproduction there should also be financial backing, at least enough to proceed to and complete the next production stage. Many people in the industry feel that preproduction often needs careful attention and this is where some low-budget projects falter, as startup money is difficult to find.

● Part two: production The actual “working” stage of the project, as it would be recognized by most people outside the industry: actors are cast, for example, and shooting takes place.

● Part three: postproduction As the name indicates, this stage comprises the processes followed “after” production.

The descriptions given here are necessarily very brief, and I encourage students to familiarize themselves with these production stages using the many books and Internet resources available, particularly those relating to postproduction.

1.2 THE NUTS AND BOLTS OF POSTPRODUCTION

Postproduction tasks include the following (listed in no particular order):

● Video or film editing

● Sound effects editing

● Sound design FX audio

● Dialogue editing

● Music editing

● Composing

● Composer’s music demo or mock-up presentation

● Score recording

● Music mixing

● Visual effects or special effects editing

● ADR (automatic dialogue replacement, sometimes referred to as additional dialogue recording) and voiceover recording and editing

● Foley recording and editing

● Color correction

● Telecine (film only) or digital transfers

● Re-recording mixing (final dub)

● Print master and film out

The elements most pertinent to the music editor are video or film editing, sound editing, composing, score recording, music mixing, and the final dub. This book will cover in depth how the music editor’s work interfaces with and relates to each of these topics. The remainder of this chapter gives an overview of each.

1.3 VIDEO OR FILM EDITING

The music editor interfaces with the film editor at many points during a project. If there is a “temp” (temporary) score edited by the music editor, then there are significant technical and creative interactions with the film editor. As the film editing progresses, the music editor has to keep up with revisions to the “cut” and edited versions of the cut, making music changes as the film changes. This is called “conforming.” The film editor or their assistant will continually update the sound departments, including the music editor, with changes in the film, which are known as “turnovers.”

Consideration needs to be given to the technical workflow between the film editing systems and Pro Tools or DAW (Digital Audio Workstation) music systems, including maintaining and matching the film frame rate, or speed. This is achieved digitally via the sample rate, the file type, and importing and exporting using various exchanging protocols, such as AAF (Advanced Authoring Format).

The working relationship with the film editor is key. He or she will act as a conduit for valuable information and communication involving the director, music supervisor, postproduction supervisors, and other pertinent executives. The film editor will often see the project through the final dub, as well as color corrections and final delivery.

1.4 SOUND EDITING

Sound editorial is one of the critical partners working with music and dialogue editorial; together, these three departments will produce the three main elements of the film’s final soundtrack. Sound effects are often described as being musical in nature because of their ability to evoke emotions, such as fear or surprise, in much the same way as music. Taking this one step further, sound design can provide a sonic environment that is demonstrated by “hard” or real “background” effects. Consider the imaginary sound of Star Trek’s Enterprise jumping to warp speed. Just as visual special effects editors have through their work become a creative force in the industry, so sound design experts have been developing their craft. Many sound effects editors and mixers are musicians, and have similar creative influences.

In a film mix, the most important element, the one which must stand out most clearly, is the dialogue; the music and sound effects must therefore be balanced with the dialogue track. However, music can be of primary importance—for example during a montage—and may occur either with or without sound effects. A successful soundtrack is therefore a matter of achieving an often delicate balance between music, sound effects, and dialogue; as noted elsewhere, it is critical for the sound effects department and the music department to work together successfully. At present I am working on a film project for which the sound designer is sharing sound effects as they are created, and the composer is in turn sharing music demos with the sound effects editors. This is an ideal method of collaboration between sound and music, but it is a rare luxury to have the time and opportunity to work in this way.

1.5 COMPOSERS AND SCORING

As a primary member of the composer’s team, the music editor has multiple responsibilities, including technical and communications tasks, creative support, and acting as bridge communicator with relevant parties, such as the director, film editor, music supervisor, and re-recording mixer. The music editor also works with the score to make sure it is tracked correctly and presented properly for the re-recording mixer. Finally, he or she can make any necessary editorial changes at the final mix or dub.

1.6 THE MUSIC MIX

The music for a project may be recorded live, with musicians, then mixed specifically to the picture. Alternatively the score could be recorded and mixed simultaneously. In either case, the music editor can advise the mixer in relation to the musical balance to be struck, on creating “stems” and which musical elements might benefit from being on their own track (ways of recording similar instruments as single tracks or multitrack stems, to allow for easier mixing and editing), and on keeping track of cues. (Stems are audio tracks containing either a combination of musical instruments or sounds of isolated separate instrument[s] into one audio track or output path. For example, a woodwind section of an orchestra, including flutes, clarinets, and oboes might be recorded or mixed into one stem that would be titled ‘wood winds’, rather than a separate track for each. Although a single stem may also be an important solo instrument that perhaps plays a key melody. Stems are useful both for the music editor for easier editing as well as the re-recording mixer to manage the music for a dub.) Alternatively, and particularly for low-budget projects, a score may be produced, mixed, and mastered completely on computer; this is known as mixing “in-the-box.” While this precludes recording with a large group of musicians, many of the music editor’s responsibilities remain the same.

In relation to the music mix, the music editor will also manage any technical “sync” issues and delivery requirements for the re-recording mixer.

1.7 THE FINAL DUB

At the final film mix or dub, the music editor presents the music stems to the rerecording mixer, and makes sure that the music is played correctly, from a technical standpoint, and balanced in a way that respects the composer’s creative ideas.

This final stage of the postproduction process can present the music editor with some challenging situations; even with the best of intentions and much preparation, many things can put you to work. For example:

● The director wants to change one or more music cues, either completely or by editing and manipulating various stems.

● The songs are changed at the last minute and need to be recut.

● The studio producers have questions and concerns regarding the music or certain music cues.

● The film has been recut and the music needs conforming to the new cut.

● The music tracks need to be converted, reordered, or relabeled for the re-recording mixer.

● The music delivery from the composer is lagging behind; this is sometimes referred to as “chasing the mix.”

● During the mix at the dub, new music cues need to be checked and placed.

This is not, of course, an exhaustive list; the challenges are different for every project.

1.8 INDUSTRY INSIDER: CHRISTOPHER KULIKOWSKI, POSTPRODUCTION SUPERVISOR

1. How would you describe your role as it relates to the overall success of a film or television show? What are some of the key skill sets your job requires?

Back during the days of the studio system the associate producer was responsible for most if not all facets of the filmmaking process at the time of production wrap. In addition, he or she was often involved with managing and interfacing between the production crew and the film lab during the dailies process. I have always regarded postproduction supervisors as post producers … that is what we do and that is what we are. Those of us working in the field oversee editorial, sound, the lab, VFX, and music crews, to name a few. We manage budgets, vendor bids, schedules, problem solving, and creative egos. In terms of my own personal skill set, it stems from years of experience making films as a kid, attending university as a film student, and working under Douglas Trumbull’s post supervisor, Jack Hinkel, whom I owe a great deal.

2. What are some of the similarities and differences between working on l...

Table of contents

• Cover
• Half Title
• Title Page
• Copyright Page
• Dedication
• Table of Contents
• Acknowledgments
• About the Author
• Foreword
• Preface
• Introduction
• Chapter 1 Postproduction
• Chapter 2 The Team
• Chapter 3 Spotting Music
• Chapter 4 Temp Editing
• Chapter 5 Editing Songs and Source Music
• Chapter 6 Musicals and On-Camera Songs
• Chapter 7 Working with a Composer
• Chapter 8 Working with a Picture Editor
• Chapter 9 Conforming
• Chapter 10 The Final Film Sound Mix
• Chapter 11 Delivery Requirements
• Appendix: Interview with Scott Gershin
• Index