If you are just starting your career in post production sound you might have seen the position of Supervising Sound Editor or Sound Supervisor pop up here and there on job sites or in the end credits of TV shows or movies. For many new or aspiring sound editors there is a bit of a misunderstanding over what the roles and responsibilties of the Supervising Sound Editor position consist of. Sound supervisors are more than just people who check the editors work, they wear many hats that they need to switch between at a moments notice. We had a chance this week to chat with Tess and Brad, two of our supervisors, about what their jobs entail and advice they would give editors looking to become sound supervisors.
I went back and forth about whether to write this post. I hope that I’m a good boss, but I’ll leave that to those who work with me here at Boom Box post. But, I can say with certainty that I’m always trying to become a better boss.
There are many different ways to be a great leader and a lot of different philosophies that can get you there. But this post isn’t to cover the theoretical side of leadership. This is a nuts and bolts how-to with specific tips regarding software, meetings, organization, and communication specifically pertaining to being a supervising sound editor. Obviously, there are many approaches on this front as well, but here’s what we do here at Boom Box Post with much success.
All great editors start out as good editors. The hope is that you evolve as time passes, into an exceptional talent. I have seen it time and again here at Boom Box, often in very short order. An editor with lots of skill and professionalism decides to push for more. These great editors form our core team; the kind of editors you want to keep around. So what’s the secret? Well I’m happy to tell you that going from good sound editor to great sound editor is not that complicated.
