On the average A-picture the first postproduction sound person brought onto the film is the supervising sound editor, who not only directs and coordinates the creative contributions of the postproduction sound staff but also must handle all the related administrative duties like scheduling mixes.
The tendency is to bring the supervising editor on earlier and earlier. The main reason is the changing demands for sound in early screenings. (Scratch mixes). This practice has engendered the greatest changes in the logistics of postproduction sound in the last two decades.
Scratch mixes/Temp Tracks
Most directors don't want to screen a picture for anybody unless it has a complete and full soundtrack—a temp track with temporary sounds, temporary music and dialog to give the audience a preview of what the final, polished soundtrack will be.
Because of demands for scratch mixes the
sound editors are under
Edited excerpts from Sync tanks
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