The Difference Between Audio for Film, TV

Jay Yearly from says that the entire process of sound for film has always fascinated me partly because the working environment seems so extravagant compared to someone who has spent the majority of their professional life working in the trenches of broadcast audio for television.

The mystique perpetrated by cinema audio is that the budgets are enormous, audio is recorded on gigantic sound stages, mixed in huge mix rooms and staffed by large specialized crews; and for studio-backed wide release films, these generalizations are fairly accurate.

Broadcast audio engineers have a totally different working experience. In broadcast audio post, a single person may end up handling the music and dialog editing, sound design and final mix; whereas in film each of these is handled by a different person. Some broadcast facilities have relatively large studios, but the budgets and crews are much smaller than those in cinema, and audio control rooms are sometimes no larger than the closet we’re able to wrest away from the video guys.


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