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Audacity Portable is the popular Audacity audio editor packaged as a portable app, so you can take your audio files along with everything you need to edit and record on the go.
If you’ve used a sound recorder as outlined in the Chapter on Audio in the Comprehensive Rigging Guide, these recordings will be stand-alone, in either AIF or WAV format. Syncing Dailies (a term from the film days), is an activity that you do (which is why it is in blue); to bring all the unruly recordings under their respective visuals.
Therefore, on complicated projects like feature films, etc., sound editing also involves the Editor and the Assistant Editor. The sound editor assembles and organizes the audio recordings and tracks, not in the way the editor did it, but in the way that is most beneficial for the rest of the audio workflow. Filtered – various effects added to enhance or manipulate the recording to deliver a specific feel.
This is the stage where the sound editor also decides if any audio needs to be re-recorded. The premixes, which might include the tracks unmixed as well (in case someone feels like changing anything), is sent to the sound mixers, along with the Cue Sheet.
Posted in Post Production Audio Workflows and tagged aif, ambient, audio, audio samples, cleaned, cue sheet, dailies, daily, daw, dialogue, digital audio workstation, editing, Effects, filter, filtered, foley, guide track, music, out take, outtakes, Post Production Audio, pre-mix, premix, pro tools, recording, room tone, sound, sound editing, stem, sync, syncing, track, tracks, video, wav, wild sound. You can place it on your USB flash drive, iPod, portable hard drive or a CD and use it on any computer, without leaving any personal information behind. Just paste in a URL in a separate paragraph to the page where you would normally view the media (like on YouTube) and it will automatically be embedded into your comment. It tries to explain in lay man’s terms, the process of audio post production, the workflows involved, and their importance in the overall scheme of things.

For this reason it is prudent to find ways to ensure your audio and video can sync with each other, even if you record them separately. Nobody wants to go back to redo things, so it is better to let them sit together and share the pain. This happens in the NLE first, and then in the DAW (Digital Audio Workstation – the audio equivalent of the NLE). This is the stage where every sound is decided on, assembled and made ready for the final mix. The guiding principle behind this is to ensure the sounds have been correctly positioned and treated, and are ready for the final mix. The cue sheet is just a document that explains, in timeline form, where each sound is located (written in time notation) and what effect or manipulation has been applied to it. Preserving the artistic intention while maintaining the most efficient workflow is the order of the day. With radio, they reach the right customers, the right number of times, with the right creative message. Each recording is separate, taken on separate times in different locations, and maybe with different equipment. On low-budget productions, you usually record audio in sync with camera – sometimes with frustrating results.
It might not seem like the right way, but creativity is rarely linear, so a circular workflow is a necessary evil.
It is the job of the editors, both video and sound, to organize the recordings into readily available tracks.

The guide track preserves the filmmakers’ intentions, and it forms the basis for the sound editor to do his or her magic. Some projects have multiple dialogue tracks (one in each language for foreign release), multiple song and music tracks (same reason), etc. The premix preserves the intentions of the filmmakers, and also creates what are known as Stems.
This document preserves the intentions of the filmmakers, the editor, and the sound editor.
On a feature film, these tracks can run into the hundreds, so you can appreciate the importance of proper organization.
We started with recordings, then synced them with video, then assembled them into tracks, then chose the best ones and edited them, and finally we group them into different branches or categories so they can be found easily.
If you have done your production audio right, you can use an autoconform tool (software) that tries to match everything automatically. It is easy to miss a small effect or audio sample in the large expanse that is the DAW’s timeline.

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