Over the past two years, I've made a point of investing time into my sound reports. Why? Because I’ve realized how often key details in the audio are missed by editors, even when they seem glaringly obvious to me.One of the most common oversights is when a Sennheiser G3, used as a scratch guide track, ends up being treated as the main audio. This often happens when the camera hasn’t had timecode, and while the scratch track works for syncing, it's far from ideal for final sound—its thin, tinny quality stands out.

Clear Track Labeling: More Important Than You Think

Properly labeling all the tracks may seem basic, but it’s often overlooked. I usually send a boom mix on track 1 and a radio mix on track 2, followed by the isolated tracks. Some might think this method is a bit dated, especially with modern gear focusing on iso tracks, but unless it’s clearly labeled, how would an editor know that track 1 is duplicated in track 3?

Adding Visuals: The Power of a Picture

Including pictures in the sound report can be a game-changer. A picture is worth a thousand words (and who really has time to write a thousand words for each scene?). Visuals help explain the recording setup, which can be especially helpful in multi-camera shoots. A simple photo can make all the difference when editors are piecing everything together.

Why Bother?

As one director put it: “I don’t always use your sound reports as much as I should, but I like the fact that it shows you care.” That, for me, sums it up. It’s not just about making my job easier—sound reports show a commitment to detail, helping everyone on the production achieve the best results.

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