Issue link: https://digital.copcomm.com/i/1521235
M OT I O N P I CTU R E S O U N D E D I TO R S 87 generous with me. When I wanted to gain some experience editing and asked if I could cut dialogue on one of our projects, he was very enthusiastic and encouraged me to go for it. I have to say, those experiences were invaluable. As an assistant, you can know the process extremely well but once you have a blank screen in front of you and know that you have to fill it with sound, you gain a much better appreciation for the editor's task. I think those experiences have really helped me as an assistant. We are an incredibly tight-knit crew who have been working together for years and I feel like I can anticipate what everyone needs much better having had that experience. Speaking of anticipating what everyone needs, when you start work on a film, there is a lot of behind-the-scenes preparation. For you, what is the ideal way to start a new project? Week one on a project usually involves meeting with the picture editor and their team, maybe the producers and director, too. Richard will often invite me to join him for these meetings. I will also spend time with the first assistant picture editor discussing the film's technical parameters, turnover requirements, and workflow plans. I'll request a copy of the original sound dailies so that I can begin naming and converting the files, and conducting a test dialogue assembly to ensure all the metadata is intact. I'll read the script and watch the rough cut if they are available. The first week is usually filled with a lot of preparations for the rest of the sound crew—getting rooms and edit systems ready, discussions about formats, required plug- ins, etc. We edit and mix entirely The Dark Knight sound crew, (l-r) Robert Kizer, Hugo Weng, Jeff Sawyer, Chris Flick, Richard King, Andrew, Mike Babcock, Michael Mitchell & Linda Yeaney, 2012. Photo by Bob Beresh. Rick Lisle, Jenny Ward & Andrew, The Way Back, Deluxe Stage One, Sydney, 2009. Photo by Ron Bartlett. Recording sound FX, The Dark Knight, (l-r) Richard King, Eric Potter, John Fasal & Andrew, 2007. Photo courtesy of Andrew Bock.