A COLLABORATIVE POST
WRITTEN BY BOOM BOX POST

When I first started working at Boom Box Post, I had a hard time understanding what exactly took place during each step of the post-production process. With so many different steps in our workflow, it was very easy for me to get lost in the order of events. Oftentimes, I mixed up editor spots with client spots, editor previews with client previews, and don’t even get me started on editorial fixes and when those were supposed to happen…

Although I eventually got the hang of it, something I could have really utilized and wished was available to me was an in depth, step-by-step, document outlining the entire workflow. So that is what I’m here to do for you all today!

While our workflow will definitely differ from other studios, I think Boom Box Post does a fantastic job streamlining, organizing, and structuring the audio post-production process for an episode of animated television. Let’s get into it!

The Workflow

Step One: Spotting (Client and Editor)

“Whenever a new pilot, episode, or series comes in, the first thing that I do is meet with the creator, director, and/or executive producer to "spot" the material.  This means that we watch it together and discuss what they would like the sound to be both generally and at specific moments.” - Kate Finan, MPSE, co-owner of Boom Box Post

In the beginning, I had a tough time differentiating between client and editor spotting sessions. I didn’t understand the importance of both. So what is the difference?

Client Spot: The supervising sound editor sits down with the client, and that's our chance to watch down the whole episode together. That is where we ask any questions we have and the client can clarify plot points, style preferences, and even request exact sound effects throughout. There is also a lot of collaboration between the supervisor and the client at this stage, where we get to pitch our ideas and converse about the best way to handle the sound throughout.

Editor Spot: This is where we take all of the information that was established in the client spot and relay it to the editorial team. At this stage, we not only discuss the notes from the client spot, but also discuss HOW to accomplish those notes. We talk about whether or not we need to record anything, what specific sounds to layer together to create the desired result, and if/how we should create custom effects necessary for the episode.

The translation from client spot to editor spot is a quintessential task for the supervisor. They must convey the clients' requests, notes, and ideas as technical tasks for the editor to accomplish in their design. For example, a client might ask for a more ethereal or magical moment in a scene, and a supervisor would direct the editor on which sound elements to use in their builds, like wind chimes and sparkles. Check out this incredible blog post co-owner by Kate that outlines tips for a successful spotting session.

Step Two: Editorial

Now that we have our spotting notes, it’s time to actually start editing! This is when our sound editors work their magic and bring the client’s vision to life! We have loads of blog posts that cover some essential editorial skills: here is one on perspective cutting, a blog for session organization, and some general editing tips in this one.

Step Three: Editor Preview

The editor preview is simply a check-in meeting that happens between the supervisor and the sound editor. During this review, the editor will play back their completed sound edit. The supervisor will then note anything they feel needs to be reworked or sweetened before it is assembled and heard by clients. The editor preview is an opportunity for the supervisor to make sure all client spotting notes were appropriately addressed by the editor.

Step Four: Assembly

A core part of the post-production process is putting together what we call an “assembly session.” At Boom Box Post, we have multiple editors responsible for various parts of the post sound process, such as sound effects editors, dialogue editors, and Foley editors, to name a few. The main objective of an assembly session is for the supervising sound editor to combine all of the editors' work together into one master session and to make sure it all works nicely together. The next big aspect of putting together an assembly session is to get the entire episode client-ready. The assembly session is what we watch with our clients prior to each mix, and therefore what they give us notes on. So we need to make sure it's in the ballpark in terms of levels, panning, and creating focus in a scene. Lastly, the assembly session is what eventually gets turned into the mix session after client notes are addressed, so we do our best to make things easy for the mixer in terms of layout/organization, markers, color coding, and extra levels or panning work.

Step Five: Client Preview

This is the first time the clients will get to hear any sound editorial. During this meeting, supervisors and clients work together to compile a list of final notes and adjustments to relay to the editorial team before the mix. This includes dialogue, sound effects, Foley, and backgrounds. Some of these notes may be small creative adjustments, retakes for new versions of picture, or overall thoughts on design as a whole. This is a great place to ensure the team will be ready for the mix, and that more time-consuming editorial fixes can be handled with the appropriate amount of care and consideration before the mix. The client preview is essentially a second chance for clients to reiterate their vision.

Step Six: Preview Fixes

Each editor provides a new session with fixes implemented from the client preview to be assembled into a session for the pre-dub. This is typically the last time our sound editors will have their hands on the project; however, there are circumstances where editorial fixes need to be addressed during the final mix. These fixes are generally smaller scale changes that are sent directly to the mix stage as individual fix tracks. Here is a great blog post on how sound editors can prepare their sessions to maximize the efficiency of the mixing process.

Step Seven: Pre-Dub

The pre-dub (or premix) is typically the first time all sound editorial is paired with the remaining mix materials, such as final dialogue and music. The process involves combining all of the audio elements together in a thoughtful and creative way to bring life to what's happening on screen. 

The pre-dub is a vital part of the audio post-production process because it is where the majority of the mixing heavy lifting takes place. This is handled prior to the final mix so that during the final mix client feedback can be prioritized. If the pre-dub is a car wash, then the final mix is the finishing polish. 

Step Eight: Final Mix

The final mix is where all the hard work gets packaged and tied with a bow. The re-recording mixer uses the pre-dub mix as a starting point for the final mix and concentrates on fine tuning the mix to perfection. Clients then attend the final mix and provide feedback and direction so that the mixer can make sure the project meets their creative vision. The main goal of the final mix is to make sure that the end result is ready for television! Check out this great blog by one of our re-recording mixers that details this process.

SHARE YOUR TIPS FOR AUDIO POST-PRODUCTION WORKFLOW IN THE COMMENTS BELOW!

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