Verite, essentially b-roll footage. It isn't quite dialogue, but not FX either.

I ( the sound effects editor)just received tracks from the dialogue editor that have zero verite tracks. This has left HUGE holes in the film and (after being completely killed by this project) I feel like this isn't my responsibility.

** The doc was spotted on the idea that if it exists in the OMF..don't cut anything new.

Thanks for any advice.

  • i'm curious how this worked out in the end.. could you give an update? – Arnoud Traa Feb 24 '12 at 15:54

hmm, the dialogue editor didn't split out the sync sound effects to different tracks of the session? this is, in my humble opinion, what he should have done. (sorry for being captain hindsight). the advice: if you really haven't slept in days, take your responsibility and take a rest/break. nothing is more important than your health. let the team know about your situation and that you are/feel not responsible for this particular mess (i'd use other words in your case). in the meantime the dialogue editor should figure out a way to get the sync sound back in the session or hook you up with an omf that works for you.

good luck and relax it's only work.



If the dialogue is edited and all there and he thinks the responsibility isn't his for the verite tracks, you'll be the one who is hit for it.

The audience only ever hears the final soundtrack - there are no notes about this type of thing in the credits: "Dialogue editor screwed over Sound Effects editor so there were no sound effects in some places".

I say it's still your responsibility as the "Sound effects editor". If I received little to no verite tracks on a doc I was cutting FX for I'd replace them or put in new sounds to fill it out - unless this is one of those National Geographic "has to have the real sounds of the elephants" type gigs where you can't put new material in that easily. But if it's a car ambience, an outdoor wind ambience, by all means it's probably faster just to cut it newly. In the case of the National Geographic scenario, I'd talk to the supervisor and let him know what happened and suggest the dialogue editor either fixes it or somehow turns over something able to be worked with.


Hey guys,

So here I am 6 months later. I didn't realize at the time that I had not been logged in under my account when I asked this question. So I hadn't received any email updates on this topic.

So here is what I learned from this experience:

What ended up happening:

I had gone along as the sound effects editor, reviewing the OMF tracks to see what needed to be cut in as SFX. I gave it a full set BG and as many synced SFX as I thought it needed. I had asked the Dialogue editor to send me what he had done so that I could watch the whole thing down before I turned it in. When I loaded the tracks, I was shocked to see that he had only cut the interview material and had discarded everything else from production sound. I fully expected some surprises but this was huge. I worked overnight and cut all the material that was skipped.

The whole project was edited and mixed in 12 days. The Supervisor was overextended and was impossible to communicate with during the edit and I barely slept through the whole thing.

Client was super happy with the result, we all had beers when it was all over!

What I learned from this experience:

1) When the deadlines are tight, communication must increase, not decrease. Make sure everyone is on the same page before you start.

2) Your work suffers when you do! -- I have made considerable effort to keep myself healthy, rested and sane since this project.

I still would like your opinions on what happened here. It has been my experience that the Dialogue Editor handles EVERY thing production related(even is they sounds are not edited, they get prepped on tracks so they at least make it to the mix, just in case). The SFX editor ADDS sounds to create the world, realism and as much emotional content as he/she can.




Dialogue editor is a slightly wrong naming for me. Production Sound Editor is a far better name. Your production sound editor should have prepared some sync sound for any clip where there is some that is useful. Marc Specter

  • The person dealing with the production sound is the dialog editor. Why would you not want to call him/her what they are? – ErikG Mar 6 '12 at 4:53

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