How would you call this position?

[elliotkelly]

The company I work for wants me to create a new position in the post team and be in charge of it. You tell me what could be its name since I am not sure yet. Let me explain you what it is about first.

We are a big TV production company, and constantly there are 2, 3 or even 4 shows being produced simultaneously.

Each production has its own audio post team, which includes 4 people most of the times: A mixer (who also selects and edits the music, that's why here we call him the "musicalizer"), a dialog editor, a foley editor and an assistant who does backgrounds, conforms, and various tasks (everyone has to do everything at certain point when deadlines are tough).

The head of the audio team in each project is the mixer, he makes decisions, gives rules to the team, and organizes the workflow. However, he has a big amount of responsabilities and there is where the idea of creating a new position came from.

My responsability would be to improve the quality of everything audio related in post, by being in constant communication with the production sound team and giving them feedback, giving advice about locations in preproduction, providing dialog editors with new tools and techniques to do their work better, being a support for the mixers by designing custom reverbs, telephone filters, and different patches for each project, and being a bridge between the director of postproduction, and the audio team.

I don´t know if a position like this is usual in other companies, so let me know what do you think could be improved, and what would be the name of this new position.

Thanks.

[elliotkelly]

I forgot to say that these are additional duties to my current role as dialog editor.

[studiomprd]

not surprised, as your other thread gave that away...

who care what you title is, as long as they pay you properly... and this may require a raise in your compensation.

" I don´t know if a position like this is usual in other companies, "

... as the studios added sound they added a "recording director" (at MGM Douglass Shearer was their first RD, he was an AC at MGM, when sound first arrived in 1928, they made him RD, and his name alone appeared in the credits for sound as "recording director" from 1930 until 1953; he remained at MGM until he retired in 1968 ...

 

I would argue that as RD Shearer did not really mix the sound on all those movies http://www.imdb.com/name/nm0790428/ but he was the department head, and that is the way it was credited in those days at the studios...

[RPSharman]

Supervising Sound Editor? It's not really relevant how many shows you cover, except for the pay of course.

[Alan H. Chang]

My responsability would be to improve the quality of everything audio related in post, by being in constant communication with the production sound team and giving them feedback, giving advice about locations in preproduction, providing dialog editors with new tools and techniques to do their work better, being a support for the mixers by designing custom reverbs, telephone filters, and different patches for each project, and being a bridge between the director of postproduction, and the audio team.

 

Supervising Sound Editor

[Ze Frias]

Well, it doesn't seem like your company structures its sound roles with what is typical (supervising sound editor, dialogue editor, sound effects editor, foley artist, foley engineer, foley mixer, adr recordist, adr mixer, re-recording mixer, etc.), instead choosing to go with your own defined roles (e.g. mixer or musicalizer). As such, you could essentially call this new role whatever you want (sound supervisor, director of sound, director of audiography, are some not-as-common titles you see in other parts of the world).

 

But as others have mentioned, a lot of the duties you mentioned, do resemble closely to those of the supervising sound editor. At the end of the day, what matters as Senator Mike and Robert mentioned, is that you get paid accordingly for your work.

 

Best of luck!