Звукорежиссер должностные обязанности: Звукорежиссер

Должностная инструкция Главного звукорежиссёра — Профессиональный педагог

Филиал ООО «Театр» в г. Челябинске		УТВЕРЖДАЮ
		Директор филиала
ДОЛЖНОСТНАЯ ИНСТРУКЦИЯ
					Мангустик В.С.
		(подпись)			(расшифровка подписи)
		«______»___________________200   г.

 

Должностная инструкция Главного звукорежиссёра

 

1. I. Общие положения

 

1. Главный звукорежиссёр относится к категории специалистов.
2. На должность назначается лицо, имеющее высшее образование и стаж работы на должности звукорежиссёра не менее 2 лет, прошедшее вводный и первичный инструктаж по технике безопасности.
3. Назначение на должность главного звукорежиссёра и освобождение от должности производится приказом директора филиала по представлению программного директора.
4. Главный звукорежиссёр, административно подчиняется директору филиала, а функционально подчиняется программному директору.
5. В подчинении главного звукорежиссера находится звукорежиссер.
6. Главный звукорежиссёр в работе руководствуется действующим законодательством, стандартами отрасли радиовещания и СМИ, приказами и распоряжениями по предприятию, настоящей должностной инструкцией и правилами внутреннего трудового распорядка.
7. Основными целями и задачами главного звукорежиссёра являются:

• Оптимальное распределение и контроль проведения  работ по производству рекламных коммерческих роликов и песен.
• Производство рекламных коммерческих роликов и песен.
• Запись дикторов в рамках системы обмена голосами филиалов.
• Мастеринг аудио программ, выходящих в записи.
• Осуществлять техническую поддержку промо акций станций.

8. На время отсутствия главного звукорежиссёра (отпуск, болезнь) его обязанности выполняет лицо, назначенное в установленном порядке. Данное лицо приобретает соответствующие права и несет ответственность за надлежащее исполнение возложенных на него обязанностей.
9. Главный звукорежиссёр обязан знать:

• Основополагающие принципы функционирования предприятий отрасли радиовещания и СМИ, законодательные и нормативные правовые акты, регламентирующие производственно-хозяйственную деятельность компании, постановления  федеральных,  региональных и местных органов государственной власти и управления, регулирующих деятельность компании.
• Форматы вещания станций.
• Форматы всех программ станции и основополагающие принципы их создания.
• Компьютер на уровне продвинутого пользователя.
• Технические требования, предъявляемые к готовым программам.
• Работу всех программ, используемых в своей работе – на уровне продвинутого пользователя.
• Схему радиовещания компании.
• Правила внутреннего трудового распорядка;
• Правила и нормы охраны труда, техники безопасности, производственной санитарии и противопожарной защиты на предприятиях отрасли

1. II. Должностные обязанности

Главный звукорежиссёр обязан:

 

1. Проводить обучение и контролировать работу других звукорежиссеров.
2. Подавать в бухгалтерию на оплату ежемесячные отчеты о произведенных аудиоматериалах.
3. Записывать голос диктора или ведущего, обрабатывать голос, осуществлять настройки аппаратуры для достижения максимального качества записи.
4. Работать с диктором или ведущим, управлять его речью, режиссировать его работу, следить за правильностью чтения и соответствием прочитанного текста утверждённому сценарию в соответствии с требованиям клиента и программного директора.
5. Осуществлять рассылку записанных голосов в рамках проекта по обмену голосами филиалов.
6. Работать с клиентом напрямую, координировать с ним варианты элементов заказа.
7. По заявке коммерческого отдела осуществлять полный цикл изготовления аудио ролика (здесь и далее это: запись голоса, обработка голоса, предварительный монтаж, согласование элементов ролика, мастеринг и окончательный монтаж ролика).
8. Высылать готовый ролик в электронном виде клиенту, если того требует условия заказа.
9. Осуществлять полный цикл изготовления аудио программ, выходящих в записи.
10. Участвовать в записи пилотного выпуска программы.
11. По заявке программного отдела осуществлять полный цикл изготовления элементов оформления эфира компании.
12. По заявке отдела продвижения осуществлять полный цикл изготовления анонсов и промо-роликов.
13. Консультировать персонал станции по работе с аудио аппаратурой, участвовать в настройке звукового оборудования, создавать инструкции по работе с таким оборудованием.
14. Планировать свой рабочий день, расставлять приоритеты для заказов, осуществлять оптимизацию своей работы.
15. Ставить в известность руководство о возможных исках и предъявлении иных, предусмотренных законом требований, которые могу возникнуть в связи с выполнением своей работы.
16. Собирать, систематизировать и архивировать все аудио ролики, когда-либо выходившие в эфир, а так же иные материалы (оформление эфира).
17. Выполнять иные обязанности, обусловленные производственной необходимостью и распоряжениями руководства.

 

 

III. Права

Главный звукорежиссёр имеет право:

1. В пределах своей компетенции действовать от имени компании, представлять компанию в других учреждениях и организациях.
2. Требовать от начальников всех служб компании необходимых материалов и информации для выполнения своей работы.
3. Вносить на рассмотрение руководства предложения по совершенствованию своей деятельности.
4. Участвовать в подготовке проектов, приказов, инструкций, указаний и других документов, связанных со своей деятельностью.

 

1. Ответственность

Главный звукорежиссёр несет ответственность:

1. За соответствие готовой продукции формату станции и требованиям, предъявляемым к готовой продукции.
2. За разглашение коммерческой тайны и конфиденциальной информации, ставшей известной в связи с исполнением трудовых обязанностей;
3. За сохранность вверенных ему материальных ценностей.
4. За соблюдение законодательства о рекламе и СМИ.
5. За ненадлежащее исполнение или неисполнение своих должностных обязанностей, предусмотренных настоящей должностной инструкцией, — в пределах, установленных действующим трудовым законодательством Российской Федерации.
6. За нарушение трудовой дисциплины.
7. За невыполнение указаний вышестоящего руководства предприятия.
8. За невыполнение работ в заданном объеме и в установленные руководством сроки.
9. За правонарушения, совершенные в процессе своей деятельности, — в пределах, установленных действующим административным, уголовным и гражданским законодательством Российской Федерации.
10. За причинение материального ущерба предприятию — в пределах, установленных действующим трудовым и гражданским законодательством Российской Федерации.

С должностной инструкцией ознакомлен____________________________________ С. С. Шлыгин

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Sound engineering technicians who specialize in these aspects of the job are called recording engineers. 90003 90012 Mixing and Post-production 90005 90002 During mixing, sound engineering technicians combine multiple tracks, with each track consisting of a recording of different instruments or vocals to create the final product. Sound mixers and re-recording mixers are specialists in this stage of the sound engineering process.Foley artists are sound engineers who specialize in the recording and mixing of sound effects for films and TV shows after production. 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The average wage for sound engineering technicians is $ 47,080 per year, according to the U.S. Bureau of Labor Statistics. 90003 90020 2016 Salary Information for Broadcast and Sound Engineering Technicians 90005 90002 Broadcast and sound engineering technicians earned a median annual salary of $ 42,740 in 2016, according to the U.S. Bureau of Labor Statistics. On the low end, broadcast and sound engineering technicians earned a 25th percentile salary of $ 30,200, meaning 75 percent earned more than this amount.The 75th percentile salary is $ 62,340, meaning 25 percent earn more. In 2016, 134,300 people were employed in the U.S. as broadcast and sound engineering technicians. 90003.90000 Sound engineer job profile | Prospects.ac.uk 90001 90002 Sound engineers combine technical knowledge with creativity and an excellent ear to produce high quality live or recorded sound 90003 90002 Sound engineers are responsible for manipulating acoustics to achieve a desired result. You may work in many different contexts, including live events (music concerts, theatre performances and sporting events), weddings or graduation ceremonies. As a sound engineer you could also work in a studio, recording for commercial music, film, TV, radio, advertising, gaming or interactive media purposes.90003 90002 In a live context, your role could involve setting up and testing sound equipment, conducting sound checks and combining signals from the various instruments and microphones to make a mix for the audience and performers to listen to. 90003 90002 As a front-of-house live sound engineer, you’re responsible for audience satisfaction, ensuring that every member of the audience can hear the show and that the sound is balanced and controlled in a specified way. This may involve adding sound effects.Monitor engineers also work in live sound and mix the sound that performers will hear through a stage monitor system. 90003 90002 As a studio sound engineer you could be responsible for planning a recording session with an artist or musician, setting up the required equipment, recording each instrument separately and then editing and mixing recorded tracks, enhancing the sound to achieve a high quality recording. You may also master the sound, which involves listening to the mixed tracks in a good acoustic environment and then working on the edited mix to refine and perfect the audio.A master engineer strives to ensure consistency of sound across different playback formats and produces a master copy, which is a final, replicable, version of the track. 90003 90002 Sound engineers may also be known by other titles, such as audio engineer, recording engineer, mastering engineer or audio technology executive. 90003 90014 Types of sound engineering 90015 90002 It’s usual to specialise in one area of ​​sound engineering, such as: 90003 90018 90019 front of house, live sound 90020 90019 monitor or foldback, live sound 90020 90019 live events, such as sports games or ceremonies 90020 90019 broadcast, for radio or TV 90020 90019 computer games 90020 90019 advertising 90020 90019 studio recording 90020 90019 studio mixing 90020 90019 studio mastering.90020 90037 90014 Responsibilities 90015 90002 Tasks will vary depending on whether you’re working in live or recorded sound, and according to the size of the team, but generally you’ll be expected to: 90003 90018 90019 communicate with the performers, director or producer to understand their artistic vision and contribute your own creative ideas 90020 90019 design, set up and test audio equipment including microphones and the speaker system, often with the assistance of a system technician 90020 90019 conduct individual recordings of each instrument and vocal in a studio context 90020 90019 conduct sound checks for front of house (audio for the audience) and the stage monitor or foldback system (audio for the performers), before the performance in live sound 90020 90019 liaise with other departments, such as lighting 90020 90019 use a mixing console during the performance to create a live mix which balances sound levels 90020 90019 add sound effects during a performance suc h as echo and equalisation 90020 90019 resolve any audio-related technical problems that arise during the performance 90020 90019 dismantle all audio equipment after the performance or studio session, reporting and resolving any faults to ensure equipment is safely maintained 90020 90019 enhance, edit and mix studio recorded tracks 90020 90019 master the mixed and edited tracks by listening to them and then using specialist equipment, such as equalizers or filters, to create a final, completed version, which realizes the artist’s vision and is ready for release 90020 90019 log and archive the studio recording.90020 90037 90014 Salary 90015 90018 90019 Your income will vary depending on which industry you specialise in, if you’re working in a small or large studio, a small venue or on a live music tour. 90020 90019 Starting salaries are generally low at around £ 15,000, until you’ve gained a reputation and have some experience. 90020 90019 More experienced sound engineers can expect to earn between £ 20,000 and £ 40,000. Engineers working with very successful artists may command higher salaries. 90020 90037 90002 Freelance work is increasingly common.Experienced freelancers can expect a daily rate of £ 150-250. Touring is the most profitable way to freelance, where your pay will include travel time and days off. 90003 90002 These figures are intended as a guide only. 90003 90014 Working hours 90015 90002 Working hours are long and irregular. Working days of 10-14 hours are commonplace. You’re likely to work evenings, nights and weekends according to the live performance schedule, or when artists are available to be recorded in the studio.90003 90014 What to expect 90015 90018 90019 Digital technology has resulted in many larger recording studios downsizing to smaller premises and employing fewer full-time staff. 90020 90019 The majority of jobs are in live sound and are usually freelance, short-term contracts involving national or international travel. 90020 90019 To work in live sound you should have a genuine love of live music and travel. 90020 90019 The environment will be noisy and a good level of fitness is required for arranging equipment and stamina for long shifts.90020 90019 Dress code is casual. 90020 90037 90014 Qualifications 90015 90002 The majority of new entrants to the industry have a degree in a relevant music technology subject, such as sound recording or audio engineering. The level of knowledge expected is high as the equipment used is increasingly complex. 90003 90002 Entry is possible with an undergraduate degree in music, mathematics, physics or engineering, followed by a postgraduate level qualification in music technology. 90003 90002 A foundation degree or HND in the subject may also provide an entry route, however this is a highly competitive field and additional relevant experience in a studio or on a live tour would be essential.90003 90014 Skills 90015 90002 You’ll need to show: 90003 90018 90019 a positive attitude with enthusiasm for the role and working environment 90020 90019 a good ear for pitch, timing and musical sound 90020 90019 a high degree of technical competence and an excellent knowledge of musical recording technology 90020 90019 a creative and logical approach to problem solving 90020 90019 patience, particularly for working in the studio where achieving the perfect sound may take time 90020 90019 a calm response to the pressures of live performance 90020 90019 strong interpersonal skills 90020 90019 attention to detail 90020 90019 the ability to respond well to, and act on, criticism 90020 90019 teamwork as you will work collaboratively with other technical staff and performers 90020 90019 resilience in the face of setbacks 90020 90019 an awareness of studio management and financing 90020 90019 creativity 90020 90019 budgeting and negotiating skills — particularly needed if y ou’re working freelance.90020 90037 90014 Work experience 90015 90002 Sound engineering is a competitive industry, where your reputation is important and work experience is essential. Very few structured work experience or training schemes exist, so it’s important to get involved, seeking out as many opportunities as you can. 90003 90002 Get involved in student audio visual societies, including radio, TV or theatre. Consider volunteering for a local hospital or community radio, local music venues or assisting at community music events.If you’re a musician, record your own materials or offer to record local bands in a home studio. Attend live music shows to familiarise yourself with the way music ought to sound. 90003 90002 Send speculative applications to recording studios, local pubs, clubs or theatres showing an enthusiasm for their output and ask if they can offer you work experience. Sound equipment companies which are warehouse based and maintain rental stock are also a good place to learn and make contacts — you can approach these by speculative application.90003 90014 Employers 90015 90002 Few jobs in this industry are advertised. Much recruiting is done by word of mouth. Networking at events, through volunteering or work experience is important. Speculative applications to studios are advised. Self-employment is also possible in a home-based studio. 90003 90002 Look for job vacancies at: 90003 90014 Professional development 90015 90002 Keeping up to date with emerging technologies is essential in this fast-moving field. If you’re working freelance, it’s up to you to maintain your professional development.Training courses are a good way to network with like-minded professionals and build up contacts as well as learning new skills. 90003 90002 The industry has a union, BECTU, which provides conferences, events and information about training for professionals. 90003 90014 Career prospects 90015 90002 There’s no set career path in sound engineering but typically you’ll enter the field as a runner or technical assistant and work your way up to the level of an engineer, focusing on a particular specialism within either live or recorded sound.90003 90002 From the level of a studio engineer you could move to a senior engineer or master engineer position. You may start in a smaller studio and move to a larger studio with experience. 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