Once the picture is locked, timecoded copies are screened with the sound editors and composer. In these spotting sessions the editor and director discuss the placement of sound effects and music with the supervising sound editor and the composer, respectively. Timecode is used as a reference to note the in and out points.

In the composer’s case he or she may have already seen a version of the film with a temp dub. Some composers refuse to listen to temp music, and understandably so, fearing that they will be unduly influenced. Others use it as a guideline. According to composer Mark Adler (Food, Inc., Bottle Shock, The Rat Pack),

The temp track should be a safety net and not a springboard… . If the temp becomes the jumping off point—the ...

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