The Fine Art of Syncing Video, SFX and Sound

To the casual viewer, there may not seem to be much to worry about with sound and SFX when you’re filming a movie. Roll the camera, and you’ll get picture and sound, right? At least that’s the way it works for them with their point-and-shoot video camera or smartphone. But the reality behind how video, sound, and SFX work together is much more complicated, and demands careful planning from film producers, directors, animation services, and a many other involved partners.
Unknown to many, sound recording, video, and SFX are usually captured and rendered with different gear and at different times during the production process. Putting all of these disparate elements to create the cohesive whole that is the final product involves planning – planning about the production, gear, software, animation services, special effects, sound effects, and more. Keeping the entire production moving smoothly while juggling all of these elements is truly a fine art. Let’s examine some of the fine art of syncing these elements to create the production you’ve dreamed of.
Choosing the gear you’ll work with
Well, if the video and sound aren’t recorded on one camera, what do you use to record the audio for your shoot? In most cases, video makers will utilize a separate multitrack recorder to capture dialogue during their shoot. A variety of microphones can be utilized with the multitrack recorder. Lavalier microphones are often used in interviews or other shoots of a similar style. In the case of dramatic action, a lavalier microphone is too obtrusive, so a boom or shotgun microphone is often employed. Depending on the situation and setup, multiple microphones may be employed, so as to capture the dialogue of several different actors, or to capture ambient sounds that improve the overall effect of the scene.

Pre-production planning
No worse nightmare exists for the filmmaker than to take their work to the cutting room and find out that they’re missing a crucial piece of dialogue that somehow wasn’t recorded during the shoot. That’s why film producers, animation services such as, and others will carefully storyboard out their shoot, and create detailed shot lists.

These lists will be distributed to everyone involved in the shoot, so they can check off in real time that they’ve recorded the required material for each take.
The importance of the slate
The clicking of a slate at the beginning of a take is one of the oldest clichés in movies. But it’s an important action. When the slate is clicked, you’re setting a marker that makes it easier to marry sound and picture on your software’s editing time line.

To make it even easier, it’s a smart idea to have your camera record a video track as well. Then you can more quickly simply line up the sound and video tracks – an easy sync.

Use post-production to iron out any problems
Even after all of your planning and attention to detail during pre-production, production, and editing, you may find that certain elements have not come together as well as you would have liked. This is the time when “we’ll fix it in post” isn’t a bad thing to say.

Some of the problems which often occur may be poor sound levels with the dialogue or sound effects, or SFX that aren’t syncing well with the action. In the case of sound levels, judicious use of EQ settings and compressors may present a solution. In more extreme cases, you may need to rerecord some of the sound track and sync it with the existing material. With SFX, careful editing or reworking of the offending scenes, often with the assistance of animation services may be required.


“ROAD TO RESILIENCE” is a collection of Ambient and Cinematic Soundscapes.

A premium choice for Film, TV, Commercials, Documentaries, Games, Sound Design, Film Trailers.

It includes cinematic sound design, piano, pads, synths and orchestral elements.
Some amazing textures that will take you to new heights. Inspired by soundtracks and composers like Thomas Newman, Michael Brook, Hans Zimmer, Cliff Martinez and many others!

Whether your needing some pristine ambient piano parts to add life to your trailer film, a lush soundscape to add just the right mood to your project “ Road to resilience” gives you freedom to create instant mood, atmospheres and dramatic textures in seconds.

ROAD TO RESILIENCE a collection of Ambient and Cinematic tracks

Artist: Dan Foster
Genre: Cinematic ambient

“ROAD TO RESILIENCE” is a collection of Ambient and Cinematic Soundscapes.

A premium choice for Film, TV, Commercials, Documentaries, Games, Sound Design, Film Trailers.

It includes cinematic sound design, piano, pads, synths and orchestral elements.
Some amazing textures that will take you to new heights. Inspired by soundtracks and composers like Thomas Newman, Michael Brook, Hans Zimmer, Cliff Martinez and many others!

Whether your needing some pristine ambient piano parts to add life to your trailer film, a lush soundscape to add just the right mood to your project “ Road to resilience” gives you freedom to create instant mood, atmospheres and dramatic textures in seconds.

8 Most Favorite Film Scores Of All Time

How do you possibly choose the 8 most favorite film scores of all time? Music is very subjective and everyone has their own favorite lists. This was evident when researching to find that special group of favorites. So, the decision was made to review four separate online rankings of films scores and then pull the scores that appeared the most out of the rankings. Then we factored in the average placement of the scores. The result is a list eight gems that are classic and timeless. Even if you’ve never seen the movies, no doubt you’ve heard the scores.

1. Star Wars (1977)—John Williams. The first of two scores that made the cut on all four rankings, the rousing arrangements took you to that place far, far away. Composed by one of the most prolific composers of all time, John Williams, you know that any movie he works on will be pure gold.

2. The Pink Panther (1964)—Henry Mancini. The second of the two scores to make the cut on all four rankings. Sexy, jazzy, and playful, this score was a top 10 hit on the Billboard charts.

3. The Godfather (1972)—Nino Rota. Melancholy, with underlying tones of intensity and pure Italian to the core, Rota brought the essence of Mafia mob life into the veins of this score.

4. The Lord of the Rings (2001)—Howard Shore. Gravitating to the days of elves, dwarves, wizards and of course hobbits, the music is as epic as the trilogy.

5. E.T. (The Extra-Terrestrial) (1982)—John Williams. Composed by John Williams. No need to say anything more. But seriously, the music soared in this delightful and feel good movie.

6. Psycho (1960)—Bernard Herrmann. Incorporating an edgy string section as the backdrop, you can’t mentally picture the shower scene in this movie without hearing those shrieking violins in your head too. Once heard, you will never forget.

7. James Bond 007 Theme (1963)—composer John Barry. Big band meets surf rock. The music captured the laid-back debonair super agent’s personality to a tee.

8. The Magnificent Seven (1960)—composer Elmer Bernstein. Great western feel, with the horn section dueling in a showdown with the string section, coming together in perfect harmony.

Honorable mention—Requiem for A Dream (2000)—Clint Mansell. This score just missed the list by that much. But its haunting, deceptively simple melodic voice captured the inevitable tragic ending of the movie’s characters to a fault.

And there you have it, the latest and greatest ranking of the 8 most favorite scores of all time. But this is by no means the final ranking. As long as movies are being made, there will be scores to create. Talented composers are coming up the ranks to make their mark and perhaps become a part of the elite film score composers in cinema history. One such talent is John Jesensky.
John Jesensky is a composer/conductor whose current credits include scores from Twinkies and Donuts and Loveseat to name a few. John received a Bachelor’s of Music in Composition from the Hartt School of Music and a Masters of Music degree from NYU. He has won many prestigious awards including the Elmer Bernstein Award for Film Composition and the Skirball Film Scoring Competition.
John is also the engraver for CineConcerts, where he creates restored film scores for live orchestra performances.

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Album review Hashamayim

Composing the perfect backing track album to whatever creation that you are trying to set up for your futuristic scenes and moments, you need to see how all of these songs work together and separately in order to really appreciate all that they do for a moment and the emotional response that it elicits.  Check out how five stellar tracks will build the moment up again and again.


Born Again is a great one to start our adventure with.  It shows the perfect blend of confusion, tense moments, a steady beat, and all of the emotions that go along with the idea of going out on an adventure and trying new things.  It speaks to feelings of courage and bravery and is all about embracing whatever is in your path and making it work.  a strong feeling of support or allegiance  makes this piece a truly unique and powerful one.


Cosmic Dust is totally different; it is more gentle and speaks to the intense moments where you can really push the space theme or the technology-based futuristic moments.  It is all about being in the moment and really propelling the tense and focused theme forward so that each person can feel the well-received tension of the moment and use it to build on itself and create an ideal scene for the listener, whether they’re aware of it or not.  Ethereal, Haunting, and Tense this piece has it all.


Final Millenium introduces a dark full tone to the work that you are putting to the scene. It features some modern synth arpeggios and Big mega horns.  It’s all about breaking through the levels before and getting to this point where you are ready to take on the challenges waiting for you so that you can see just how it is all going to work and turn out for the character.  This piece expresses anticipation and suspense, the perfect fit for dramatic, tense scenes.

A slowly building introduction leads to tense pulsing bass, synths, strings, heavy percussions, and dark electric guitar that create a mood of tension.

It creates tension and stress in the listener, something you can work with.


Finding Light is a sweet little interlude that is great for putting forward the space themes and embracing the gentle quiet and peace that go along with them.  Marked by classical elements and modern synths, It offers a fresh look into how the world will simply pass us by.  Great for those moments where you want to use a soft melody, but still keep enough of a small percussive beat in there that will allow you to build the moment up and enjoy it as you should.  It’s fresh and fun.


Ezekiel is a fantastic creation that perfectly blends together the hardest parts of music that are out there: traditional sounds with futuristic tones and additives.  This song does it well, though, offering a human look into the futuristic world and eliciting a firm human touch in this scene.  Makes a great backing track to those emotional moments where the character has the ability to connect with those thoughts and feelings and really share them with the listener, making your track and scene exceptionally strong and full of power, conviction and trust so that you can build it up entirely as you want to.


Being in control of your own thoughts and emotions really shows you the way into someone’s head, which can be accomplished with these melodies to help you push your way forward into a world of opportunity.