Jason Krane with his Creative Arts Emmy award.
Jason Krane with his Creative Arts Emmy award. (SUBMITTED)
Jason Krane worked on "Glee" Sept. 24.

The next day, he worked on "The Originals," a new CW spinoff of "Vampire Diaries."

The next day, he said he'd likely work on a different show.

Fall premiere season can be a whirlwind for a successful dialogue editor. There are 15-hour days as post-production teams prepare episodes for air, normally with only a week between filming and broadcast.

Krane, who has York County roots and now lives in the Los Angeles area, once worked on editing the sound of six different shows in one day. It's intricate work that usually isn't credited.

But once a year, those who work behind the scenes on TV shows take the spotlight at the Creative Arts Emmys. The awards ceremony takes place a week before the Primetime Emmys and honors those who work in sound, casting, make-up and visual effects, among other specialties.

This year Krane, 31, and his team from Technicolor were nominated for their work on "American Horror Story: Asylum." It was his fourth nomination. As in previous years, he said the seconds dragged until the sound editing categories were announced Sept. 15.

When Technicolor won, Krane felt a flood of relief.

"I started worrying that I was going to be the Susan Lucci of sound editing," he said with a laugh, referencing the soap star who was nominated for several Emmys before she finally won.

Fear followed. Krane thought he might have to say something. But one of his co-workers stepped up to the mike.

"The first thing I did backstage was text my mom, who was quite ecstatic," he said, adding that Donna, his mom, works as a librarian at York Suburban Middle School. "I think she had fun bragging all week."

After the ceremony, Krane enjoyed congratulations from fellow industry members over dinner and drinks at the Creative Arts Emmys Governor's Ball. During a phone interview a few days later, Krane said he almost followed a different career path. After graduating from York Suburban High School, he attended Loyola Marymount University with the intent to study music. But downloads started to erode the foundations of the industry.

So, he began to search for other options, including production and sound editing.

"I always had a big interest in movies and TV and after getting my hands on material to edit I developed a growing interest in it," Krane said.

He loved to create and environment and mood with sound. With the help of a professor, he learned more and landed a job at Technicolor.

The sound editing field has several different jobs. As a dialogue editor, Krane makes sure viewers can hear what actors are saying clearly.

Sometimes, sound gets garbled between edits, and Krane's job is to make it smooth and fluid -- as if it was all from one take.

Other people create sound effects for anything that is not recorded on set. Shows work on soundstages and use props. In post-production, sound teams have to make sure those noises are realistic and mixed correctly. They have to make "American Horror Story: Asylum" sounds like it takes place in an institution instead of a cavernous stage.

Six people might work on one episode -- or more if there is a lot of work to do on a tight deadline, Krane said. One upside, he added, is that he gets a sneak peek at episodes. But, of course, he has to keep his mouth shut.

"We're only seeing what we add in," Krane said of the editing process. "When you see everything combined and the music, it becomes a complete project. It's a whole new experience."

Krane finished working on recent seasons of "Dexter" and "True Blood." He said he's excited to get started on the next chapter of "American Horror Story" -- "American Horror Story: Coven," which is slated to premiere Wednesday, Oct. 9.

Of course, when watching TV in his free time Krane keys into the sound more than the average viewer. He can recognize stock sound effects, like doors closing and cars engines, and he notices when dialogue recorded after a take doesn't match the rest of a sound track.

"I love my job behind the scene," Krane said. Even though there are long hours, he has the flexibility to start early, so he can get home to see his two young daughters.