Jason Lawrence

Dialogue Editor for Film & TV, MPSE

I am an Emmy nominated and MPSE winning dialogue editor with years of experience editing everything from shorts to feature films.

My experience in dramatic, episodic television has given me the ability to deliver a high quality edit quickly and efficiently. 

My most recent experience is in episodic, dramatic television, most recently for Hell on Wheels season 5, Fargo season 1 (Emmy nomination 2014) and Discovery Channel’s Klondike (Emmy nomination 2014 & MPSE winner 2015)
A dialogue editor, in the most basic sense, strives to remove the filmmaking from the dialogue tracks. The process of making a film can be messy! Directors talking, planes flying overhead, cameras, dollies and even the actors all make unwanted noise and need to be removed in order to preserve the illusion that you’re in another world.

When I do my job well, in concert with the mixers, the edit disappears and you’re subconscious isn’t triggered by anything that takes you out of the film.
Me at the 2014 Creative Arts Emmys
For those of you that already know what I do and would like to get in touch, click here.

For those of you that don’t really know what dialogue editor does, and would like some more information, click over to here.

What I Bring to the Table

  • Dialogue editing is kind of a funny thing in how independent it is of the other parts of the post production sound process.
  • We don’t really need to collaborate on a daily basis with other members of the sound team. Dialogue, in a way is simple in that it needs to be expertly edited, cleaned and blended in a way that is satisfactory to the post production supervisor and mixers. 
  • The only time I directly collaborate with the post sound team is during the spotting session, which usually takes place over the phone, or video patch, like Skype.
  • Dialogue editing can really be done anywhere and all I need is a healthy internet connection and access to the occasional FedEx delivery.
  • As an example, last year I cut the dialogue on Discovery Channel’s first scripted television, a mini-series called Klondike, a 6 hour epic that was being edited and mixed on the other side of the world, in London, England. We collaborated as needed by phone and email and got down to work. I did my edit, sent it to England for final mixing, and didn’t actually meet the other members of the sound team until the Primetime Emmy Awards in LA. With a fast internet connection, I can collaborate with anybody in the world to produce amazing work.