Issue link: https://digital.copcomm.com/i/1475409
m ot ion p ictu re s o u n d e d i to r s I 55 budgets based on the one-man-army post sound guy assumptions prevalent in the industry. Collaboration is also difficult if there isn't a known workflow structure. Collaboration requires conformity across several programs used by different editors during post- production; a system of workflow that many are too lazy to consider. I have known Nollywood to be an industry so rigid and reluctant to change. In spite of these roadblocks, I managed to set up an audio post-production team through training. We managed to break down our audio post-production roles into dialogue editing, background effects editing, sound effects editing, Foley creation, and mixing. Every now and then, we find ourselves taking on two to three roles at a time on every project. Even though it is very expensive to run, we keep striving not to let this new structure reflect on our rates, except on rare occasions when we work with some filmmakers who respect the sound process and effect it has on their films. In other words, the fee for one editor had to be spread across every other editor who worked on the project, in spite of the running costs of individual DAWS and plug-ins, to mention a few. Our major goal was to first prove a point that "your film can sound way better if you would listen to us." We also know we cannot continue with this model forever if nothing changes in our favour. If we were able to create something special as a result of breaking down these processes, then we might be able to convince more filmmakers in Nollywood to consider this approach as the best practice. If it becomes accepted in the industry, maybe it might have a positive effect on the budget; we'll never know until we have tried. If this works, the different roles involved in sound in Nollywood filmmaking may attract the right attention and recognition it deserves. This may also improve the attractiveness of film sound and cause the community to grow as this department of the film industry is truly explored for excellence. It will also increase employment opportunities for many other professionals needed in film sound. Today our film culture is being exposed with the introduction of more structured film networks like Netflix and Amazon, requesting standards that Nollywood isn't actually prepared to deliver: like a fully filled M&E, working with loop groups, properly recorded Foley, ADR sessions, etc. First, the budget won't adequately reflect all this work since these additional processes are not yet recognized in Nollywood. Second, the audio post-production team size will be another setback since the initial In September 2018, Kolade won the Africa Magic Viewers Choice Awards (AMVCA) for Best Sound Editor in a Movie or TV Series for Don Omope's directorial debut—TATU. He shared this award with Pius Fatoke, one of the best in the sound game, whom he worked with on the project.