Sound · discipline
Post Sound
The entire post pipeline — supervising sound editors, sound designers, dialogue editors, re-recording mixers, foley. The post-side counterpart to production sound, and where most of the cited recognition lives.
- 12325
- Post-sound pros
- 14
- Top credit count
- 5
- Roles indexed
The post pipeline, briefly
Post sound starts the moment picture is locked. The supervising sound editor is the department head — sets the deliverable target (Atmos, 7.1, 5.1), assigns the team, and signs the mix. Sound designers build non-dialog content from scratch — creatures, weapons, ambience, signature moments. Dialogue editors clean production tracks and cut ADR. Foley artists perform synchronous everyday sound (footsteps, cloth, props) on a foley stage to picture. The re-recording mixer balances dialog, music, and effects stems to the final deliverable, on a dub stage.
CAS recognizes the production+post mix collaboratively. MPSE Golden Reel recognizes sound editing in detail — separate categories for dialogue & ADR, sound effects & foley, and music editing. AMPAS Best Sound currently rolls everything into one category. The post pros above are filterable on the corresponding awards craft pages.
Most-credited post-sound pros
All sound crew →Christopher Boyes
14 credits · Re-Recording Mixer
John Roesch
14 credits · Foley Artist
Michael Semanick
14 credits · Re-Recording Mixer
Ai-Ling Lee
13 credits · Re-Recording Mixer
Dan O'Connell
13 credits · Foley Artist
Andy Nelson
11 credits · Re-Recording Mixer
Randy Thom
11 credits · Sound Designer
Richard King
11 credits · Supervising Sound Editor
John T. Cucci
10 credits · Foley Artist
Ren Klyce
10 credits · Sound Designer
Gary Rizzo
9 credits · Re-Recording Mixer
Philip Stockton
9 credits · Supervising Sound Editor
Shelley Roden
9 credits · Foley Artist
Skip Lievsay
9 credits · Re-Recording Mixer
Tom Johnson
9 credits · Re-Recording Mixer