Issue link: https://digital.copcomm.com/i/1529890
56 W I N T E R 2 0 2 5 I C A S Q U A R T E R L Y Best Practices: Communication Breakdown Panel In a recent discussion, longtime collaborators Amanda Beggs CAS and Brent Kiser CAS MPSE emphasized the importance of communication between production and post sound teams. One key question raised was whether production sound reports reach the post sound team and if they are useful. Another question was whether room tone is truly necessary and worth holding up production for. The truth is that room tone is rarely used, if at all, during the dialogue editing process (you can thank us later, production). They argued that more detailed notes— such as which characters are captured by which boom and which microphones are usable for each take—are more helpful and can significantly enhance the workflow. Establishing a dialogue early in the process is crucial, and it is up to the post sound teams to initiate conversations with production, as they are often attached to the project later. This kickstarts a collaborative environment within the sound department as a whole. For instance, if production captures environmental soundscapes or unique sound effects on set, the established connection allows production sound mixers to inform the post teams, ensuring that their hard work reaches its destination. More often than not, these recordings can get lost during the editorial process, making all that effort go to waste. ENHANCING COLLABORATION BETWEEN PRODUCTION AND POST SOUND TEAMS b y C A S A s s o c i a t e K e v i n K h o r Brent and Amanda highlighted the usefulness of including microphone brand and model numbers in the metadata, as this can assist in matching ADR, especially when using unique microphones such as boundary mics. This proactive approach saves time and eliminates the need for post to follow up with production for missing information. A few other interesting points raised during the panel included the importance of bringing on a post sound supervisor early, as they can help incorporate sound effects during editorial, reducing the risk of "temp love" and the use of sound effects sourced from the internet. The topic of documentaries was also discussed. This genre is like the Wild West, where files often lack proper metadata, leaving post teams to guess which microphones provided the best sound. This underscores the necessity for better educational resources for documentary filmmakers. Ultimately, Amanda and Brent concluded that sound professionals need to stick together and work cohesively. Advocating for better practices and mutual support— sometimes even on set—can enhance overall sound quality and help bring the director's vision to life.