Sound Designer

What this is about

Half of what an audience believes about a film, it hears. Post audio can build atmospheres from nothing, but the recordings that anchor them — the room, the props, the voice — exist only if the shoot planned to capture them.

Every department needs the same plan in a different view. That is exactly where document collections fail: they only ever serve one perspective well.

What runs differently here

In planning terms, that means:

• A minute of room tone per location is the cheapest recording of the production and the one most often missing
• Wild tracks of the real props and doors beat any library sound that has to be bent into matching
• M&E versions for international delivery need effects and dialogue on separate tracks from day one

What the plan has to deliver

A production plan is useful to this role when it provides the following:

• A minute of silence per location as a schedule item
• Wild tracks of signature props listed like shots
• Dialogue, atmos and effects separated from the recording on
• A scene list that marks what the sound layer carries

Common pitfalls

What most often goes wrong in practice:

• Wrapping a location without recording its silence
• Treating ADR as a rescue instead of a scheduled step

With TillyGen

TillyGen puts sound requirements — room tone, wild tracks, quiet minutes — on the schedule as items, not as hopes.

Change one constraint and the consequences travel through the whole plan: affected shots are flagged, the call sheet is regenerated, and nobody keeps working from yesterday's version.