Sound Report: Recording log completed by the Sound Mixer documenting timecode, SPL readings, microphone configuration, and take assessment for each audio capture on set.
A complete sound report lists every take with start and end timecode (format: HH:MM:SS:FF at 25fps), average and maximum sound pressure levels in dB SPL, and the microphone configuration used. Standard fields include scene and take number, slate information, sampling rate (usually 48kHz/24bit), channels used (up to 32 tracks on modern recorders like Sound Devices 833), wind conditions (Beaufort scale 0-12), and disruptive ambient noise with their approximate frequency spectrum. Digital versions integrate metadata directly into the audio files via BWF (Broadcast Wave Format) headers.
Sound reports originated in 1929 with the introduction of synchronized sound, as handwritten lists on pre-printed Western Electric forms. Standardization occurred in 1934 by the Academy of Motion Picture Arts and Sciences with the first uniform Sound Report Sheet. In 1970, Nagra introduced magnetic reference tones, enabling precise synchronization. Since 1995, digital metadata has supplemented paper-based documentation, and from 2010, cloud-based systems like MovieSlate have allowed direct upload to post-production.
On "Mad Max: Fury Road" (2015), sound mixer Ben Osmo created 847 individual entries daily for vehicle engines, with each engine take documented by exact RPM and transmission load. Christopher Nolan's "Dunkirk" (2017) used over 2,400 sound report entries solely for aircraft noise, categorized by aircraft type, altitude, and engine load. The workflow involves: recording with immediate evaluation (A-take/B-take/NG), transfer to the Script Supervisor, a copy to the 1st Assistant Director for continuity, and the original to post-production.
The sound report differs from the camera report through its focused audio documentation without image parameters. Modern alternatives like Ambient Recording Lockit systems generate automatic reports via GPS timestamps and slate recognition. SetKeeper and similar apps are increasingly replacing paper forms, but offer identical data structures. On low-budget productions, the camera assistant often handles sound report creation, which, however, leads to incomplete technical documentation.
Ich koordiniere meine Slate-Nummern täglich mit dem Tonmeister, damit Picture- und Sound-Reports synchron bleiben – unterschiedliche Nummerierungen kosten später Stunden in der Postproduktion. Seine Mikrofonnotizen helfen mir bei der Kadrage, da ich weiß, wo die Angel-Grenzen liegen und kann entsprechend komponieren, ohne seine Tonqualität zu gefährden.
Der Tonbericht zeigt mir bereits am Set, welche emotionalen Nuancen der Schauspieler-Performance wirklich "angekommen" sind – ein A-Take im Bild kann durchaus ein B-Take im Ton sein. Ich nutze die Bewertungen des Tonmeisters für finale Take-Entscheidungen, da subtile Atmung oder Stimmfärbungen oft entscheidender sind als minimale Bildunterschiede.
Tonberichte reduzieren meine Post-Kosten um durchschnittlich 15%, da der Editor nicht stundenlang durch unbrauchbares Material suchen muss – bei einem 20-Drehtage-Film entspricht das etwa 8.000 Euro Ersparnis. Die präzise Dokumentation schützt mich außerdem rechtlich bei späteren Diskussionen über angeblich "verlorene" Takes oder technische Mängel.
1. Was beschreibt „Tonbericht" am besten?
2. Zu welchem Department gehört „Tonbericht"?
3. Wie viele verschiedene Fachperspektiven bietet dieser Eintrag?
The Lexikon is part of the Filmfarm ecosystem — alongside budgeting (FilmBalance), an industry magazine (FilmCircus) and crew networking (FilmCall, CrewMesh). One shared vocabulary for the whole production.