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While the production sound team record audio on set, post-production sound focuses on making this noise as clear as possible and adding additional sound to create an immersive film. With a first assembly of the film put together by the Editor, the sound can be focussed on. The sound design should reflect the images and narrative.

Where original audio hasn’t captured the correct sound or cannot be cleared up, additional dialogue can be recorded. Similarly Foley Editors add sound effects to enhance the auditory impact. This involves creating the desired sound through an array of objects, often surprisingly different from the objects supposedly making the noise on screen.

The Composer has, perhaps, the most evident impact on the film’s final soundtrack. Working with the Director to convey emotion and suggest connectivity between multiple scenes, the Composer creates the music to accompany the story. This is a highly specialised job and usually follows extensive experience working in music. Courses are available for those wanting to work as composers though significant musical experience is usually a prerequisite.

Training for most positions in post-production sound comes in the form of specific courses, enabling students to learn both the technical understanding of the necessary equipment and to consider the manifold techniques used to artificially produce a cohesive and engrossing soundtrack. Junior positions also exist; post-production Running can offer an overview of the entire process.
 

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