Thomas J. McLean is an AwardsLine contributor
Few categories offer as much confusion in Oscar pools as best sound editing and best sound mixing. Unlike the more esoteric categories where few have seen the nominated films, most of the nominees for these categories often overlap and have worked on blockbuster movies.
The short description of the differences goes like this: Sound editors assemble all the sound elements except music and edit it into a soundtrack that is synchronized to the images on screen. That includes assembling everything from dialogue tracks recorded on location to sound effects, Foley and ADR, or additional dialogue recording. The mixer then takes the elements of the edited soundtrack and the music and adjusts the volume levels and 3D placement in the theatrical environment.
The longer description is much more complicated.
“There is a lot more of a overlap of duties as it were for the two jobs, but it’s totally a collaboration from beginning to end”, says Philip Stockton, nominated along with Eugene Gearty for the best sound-editing Oscar for Life Of Pi.
Asking some of this …