In film making, post-production jobs refer to activities that take place after the movie has been shot. At this point, the director must shape thousands of hours of footage into a logically sequenced movie with sound effects, music, title graphics and all of the other elements moviegoers expect. Post-production crew members learn their craft at film schools or through apprenticeships. First jobs are often without pay, but offer valuable contacts and work experience.
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It’s the editor’s job to help the director make sense of the thousands of hours of footage shot on location. Scenes are almost always shot out of sequence, so the story must be edited to fit the director’s idea of chronology. Decisions must be made as to which of each scene’s multiple takes and camera angles will be used, and what must be scrapped. The editor completes a rough cut, which is basically the film’s first draft edit, but much more work will be done. In the past, film was physically cut and spliced, which is how actors and scenes could end up “on the cutting room floor.” But today most editors digitize the footage and use movie editing software such as Avid and Final Cut Pro.
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Sound editors are responsible for all audio that must be added to a film. The music editor selects the music and edits it into the footage. This can also mean adding temporary music when the film is still in post-production. The automatic dialogue replacement (ADR) recordist works with the film’s actors to replace unusable dialogue. No matter how sensitive or well-placed the microphones are during shooting, some dialogue ends up garbled; or the scene is shot from such a distance that microphones prove useless. In other cases, “looping” is used to replace certain words with milder dialogue when edited for television. The foley artist works with the sound effects editor to create effects as mundane as the slamming of doors or as inventive as the snarl of an alien. All sound editors work under the direction of the supervising sound editor.
One of the final steps in production is the scoring of the film. The composer receives a rough cut and writes original music that fits the plot, each scene’s mood and the director’s intentions. John Williams’ score for the Star Wars saga is a prime example of a music composer adding an important dimension to film production.
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The post-production supervisor acts as a liaison between the director and the various post-production crews. In some cases, the post-production supervisor might also help the director select staff. This job also involves being the primary contact with the film lab and other vendors during the later stages of film production.
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