I have been a sound effects editor and supervising sound editor for a long time now. But, I have recently begun mixing a television series here at Boom Box Post. I am enjoying how much I learn each and every time that I sit down at the board, and am my no means ready to start spouting mixing advice to anyone. But, I can say that I’ve come to appreciate certain editorial practices (and absolutely abhor others!) through my new vantage point as a mixer. Things that I thought of as a nice way to make your mixer happy have turned into practices that are essential to me being able to start my mixing day right. Seriously, these five things can be the difference of hours added to my predub day. So, here are five editorial practices that I’ve realized are absolutely essential to a smooth mix.
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Over the past year, Jeff has written two excellent posts on sound effects editorial layout: Downstream: Valuable Sound Designers Think Like Mixers and Speak Volumes Through Well Organized Work. He's laid out the golden rules of sound editorial layout in an easy-to-follow manner, and I highly recommend reading both posts before this one.
But, even the clearest rules can be misinterpreted and scenarios that seems like exceptions can often arise. Even the most seasoned editor will encounter situations where he or she will wonder, "How do I know if this is the best layout?" Here, I want to address some common pitfalls that I've seen and help you to solve them.