Create successful ePaper yourself
Turn your PDF publications into a flip-book with our unique Google optimized e-Paper software.
Sound Edit Workfl ows<br />
audio fi les were imported from original fi les or backups. One audio fi le was lost as there was no<br />
backup. Unfortunately, this was the electronic helicopter from the “Apocalypse” scene. This had<br />
taken four hours to create, and it needed to be re-created. The other repairs required only about two<br />
hours to make. This really drove home the importance of making backups. The next steps were:<br />
A temp dub was made and recorded to DA88 tape.<br />
The temp dub DA88 was interlocked with the work print and projected.<br />
At this point, the new portable drive with the Pro Tools Session crashed. This time the session had<br />
been backed up in its entirety and so recovery only required going to the backup and confi rming that<br />
everything was intact. The fi nal stages of the workfl ow went smoothly.<br />
The answer print was telecined to DVCam and Beta SP for use as the dubbing picture.<br />
A copy of the original Pro Tools session was made to preserve the temp dub settings.<br />
All levels and EQ in the Pro Tools session used in the temp dub were removed.<br />
The fi nal dub was preformed at Todd AO.<br />
Dolby LCRS was encoded to DA88 tape.<br />
Surround effects tracks were added to the session.<br />
The Pro Tools session with the mix levels intact was remixed to 5.1 at Sunset Screening Room.<br />
Dolby 5.1 was encoded to DA88 tape.<br />
Encoded audio from the DA88 was recorded to optical fi lm at NT audio.<br />
A second answer print was printed with sound and screened.<br />
The six-channel mix was exported as six separate AIF fi les and sent to the DVD author for 5.1<br />
encoding. Delivery was on CD.<br />
The fi nal release prints were made with two sound tracks, one in 5.1 Dolby and an optical LCRS<br />
Dolby track. All theaters can play the optical track; most can also play the 5.1 digital track.<br />
Because audio is so fundamentally different than picture, many picture editors fi nd it intimidating.<br />
And while the two are very different, and sound is normally handled by a “special team,” in terms<br />
of postproduction workfl ow the two are inseparable and totally intertwined. When designing the<br />
workfl ow, they are both equally important.<br />
117
Change language