Sound editors are responsible for assembling the overall sound design of a completed production—what you hear is what they get. In post-production, I am in charge of selecting, recording/re-recording, and piecing together the right sounds to fit the edited footage. This includes dialogue tracks, ADR (automated dialog replacement), foley, wild tracks (any audio that’s meant to be in sync with the image but recorded separately, such as narration, phone conversations, sounds of nature, traffic, or any ambient noise) and any music used.One of the major tasks I have is to comb through, edit, clean up, or re-record the dialogue. Typically, dialogue is captured on a separate recording device and it’s the sound editor’s job to track down the right audio to make sure it matches up with the picture within the shot the director likes best. When the audio is weak in an otherwise good take, that’s when I will record ADR or looping, bringing the actors in to re-record the dialogue by lip-syncing to the footage as it plays.
After dialogue is taken care of, I add in sound effects, background sounds, and the work done by foley artists.