This is the end process, or post production task, of finishing up the dialogue, sound effects and music in order to create the final sound track for a picture.

First and foremost, dialogue has to be cleaned up. It should be crisp, easy to understand and free from hiss, hum, loud air conditioning, traffic, etc. These are all typical anomalies that can make it difficult or impossible to understand the actors. Lousy, muddy, noisy dialogue is the kiss of death in any film and even the most naïve audience will sense that something is not right. If the prospects for cleaning it up are poor, then it must be ADR'd (see editorial on ADR.)

Crisp, appropriate sound effects and background sounds are then added in order to punctuate, enhance and liven up the visuals, without overpowering the dialogue.

Music is then added and is normally composed especially for the picture. Sometimes, however, budget and time constraints will necessitate the use of a library score.

Foley is the final step and this is where cloth, feet and prop sounds (things the actors touch or pick up, etc.) are created to round out the track and bring it to life. This is the ultimate frosting on the sound effects cake, because a good foley track makes the actor's movements more vivid and adds presence.

Finally, all elements are mixed together to create a composite track at what is known as the re-recording session. Here, a good mixer always remembers that dialogue is king and should be crisp, clear, easily understood and not drowned out by sound, unless the producer is trying for an unusual, dramatic effect that is appropriate.


If the prospects for cleaning it up are poor, then it must be ADR'd (see edito