Dialogue Editing

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viii CONTENTS Chapter 15 ADR . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 247 Chapter 16 Editing Production Sound for Documentaries . . . . . 293 Chapter 17 Preparing for the Mix . . . . . . . . . . . . . . . . . . . . . . . . . . . 303 Chapter 18 The Mix . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 311 Afterword . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 323 Appendix A Dialogue Editing in a Nutshell . . . . . . . . . . . . . . . . . . 325 Appendix B Track Template for a Typical Small Film’s Dialogue . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 333 Glossary . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 335 Bibliography . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 349 Index . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 351
Page 2: Dialogue Editing for Motion Picture
Page 6: Dialogue Editing for Motion Picture
Page 10: In memory of Grant Maxwell, 1958-20
Page 14: Contents Foreword . . . . . . . . .
Page 20: x FOREWORD invisible. Directors and
Page 24: xii PREFACE Amateur video enthusias
Page 28: xiv PREFACE “industry” terms, a
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Page 36: 2 WHAT IS DIALOGUE EDITING? storyte
Page 40: 4 WHAT IS DIALOGUE EDITING? To serv
Page 44: 6 NO ONE WORKS IN A VACUUM demonstr
Page 48: 8 NO ONE WORKS IN A VACUUM masses a
Page 52: 10 NO ONE WORKS IN A VACUUM standar
Page 56: 12 Camera: 24 fps Crystal Locked So
Page 60: 14 NO ONE WORKS IN A VACUUM For qui
Page 64: 16 NO ONE WORKS IN A VACUUM A Brief
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18 NO ONE WORKS IN A VACUUM referen
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20 NO ONE WORKS IN A VACUUM is a po
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22 NO ONE WORKS IN A VACUUM The ass
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24 NO ONE WORKS IN A VACUUM A disk-
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26 Shoot BetaCam, DV, HDTV, Other 2
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28 NO ONE WORKS IN A VACUUM feet, 1
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30 NO ONE WORKS IN A VACUUM so more
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32 NO ONE WORKS IN A VACUUM Ironica
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34 A QUICK LOOK AT PICTURE EDITING
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44 THE SOUND DEPARTMENT subordinate
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46 THE SOUND DEPARTMENT props neede
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48 GETTING SOUND FROM PICTURE DEPAR
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82 BURN-INS, FILE NAMES, AND BACKUP
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88 SCREENING THE OMF/POSTCONFORM—
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90 SCREENING THE OMF/POSTCONFORM—
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92 MANAGING YOUR TIME • What are
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94 MANAGING YOUR TIME Table 8-1 Dia
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96 MANAGING YOUR TIME Step Time Pro
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98 MANAGING YOUR TIME Although it
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100 MANAGING YOUR TIME of the fi lm
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102 GETTING STARTED ON DIALOGUE EDI
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116 Figure 9.6 Markers (top) are ad
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130 NOW, THE ACTUAL EDITING Figure
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132 NOW, THE ACTUAL EDITING are eng
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138 NOW, THE ACTUAL EDITING all sor
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140 NOW, THE ACTUAL EDITING of the
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144 NOW, THE ACTUAL EDITING Rule Tw
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148 NOW, THE ACTUAL EDITING atmosph
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150 NOW, THE ACTUAL EDITING created
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158 NOW, THE ACTUAL EDITING microph
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160 NOW, THE ACTUAL EDITING the two
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168 NOW, THE ACTUAL EDITING Still,
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170 NOW, THE ACTUAL EDITING laugh,
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172 NOW, THE ACTUAL EDITING When yo
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174 IMAGE, DEPTH, AND PERSPECTIVE u
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176 IMAGE, DEPTH, AND PERSPECTIVE S
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178 IMAGE, DEPTH, AND PERSPECTIVE b
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180 IMAGE, DEPTH, AND PERSPECTIVE g
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182 IMAGE, DEPTH, AND PERSPECTIVE F
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184 IMAGE, DEPTH, AND PERSPECTIVE F
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188 DAMAGE REPAIR cases, where nois
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190 DAMAGE REPAIR How do you learn
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192 DAMAGE REPAIR Crew Remember, th
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194 DAMAGE REPAIR noise is almost c
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196 DAMAGE REPAIR Figure 12-1 Small
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198 DAMAGE REPAIR on an appropriate
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200 DAMAGE REPAIR Reducing Clothing
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202 DAMAGE REPAIR program material
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204 DAMAGE REPAIR It’s useful to
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206 DAMAGE REPAIR Table 12-1 Common
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208 DAMAGE REPAIR You need to fi x
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210 DAMAGE REPAIR editing. Having e
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212 DAMAGE REPAIR Find a landmark c
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214 DAMAGE REPAIR In extreme cases,
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216 DAMAGE REPAIR Cut and paste the
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218 DAMAGE REPAIR be careful of the
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220 DAMAGE REPAIR Reducing Ambient
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222 DAMAGE REPAIR Figure 12-9 Befor
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224 DAMAGE REPAIR Figure 12-10 An F
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Figure 12-12 A Waves PAZ Frequency
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228 DAMAGE REPAIR updated FFTs. The
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230 DAMAGE REPAIR Figure 12-16 If y
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234 PRODUCTION FX AND GUIDE TRACKS
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240 CONFORMATIONS Figure 14-1 Excer
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242 CONFORMATIONS editor to create
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244 CONFORMATIONS Click on any trac
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246 CONFORMATIONS conform your sess
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248 ADR Perspective and voice quali
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250 ADR Looping Long before digital
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252 ADR Preparing for ADR One thing
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254 ADR can do to save it. If you c
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256 ADR ADR call list)—a list of
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258 ADR down and make you cry if yo
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260 ADR actor’s lines "Lost in Jo
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262 ADR Automating ADR Paperwork If
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264 ADR The ADR Recording Session A
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266 ADR combination of the two depe
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268 ADR This is a good time to ask
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270 ADR something, typically room t
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272 ADR removed for ADR. Before mov
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274 Figure 15-10 When syncing an AD
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276 Figure 15-11 An almost perfectl
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278 ADR Find the qualifying alterna
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280 ADR If a vowel is terminated wi
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282 Figure 15-14 Preparing for time
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284 ADR of a word) as an alignment
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286 Figure 15-15 VocALign compares
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288 ADR There’s another reason fo
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290 ADR Editing Group Loop Editing
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294 EDITING PRODUCTION SOUND FOR DO
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304 PREPARING FOR THE MIX sedan or
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306 PREPARING FOR THE MIX Table 17-
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308 Title: Lost in Jordan Reel: 1 D
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310 PREPARING FOR THE MIX and much
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312 THE MIX Given its schizophrenic
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314 THE MIX You will have several d
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316 THE MIX Table 18-1 Dialogue Pre
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318 THE MIX If the mixer insists on
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320 THE MIX Dolby SR The only survi
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324 AFTERWORD scream. But most of t
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326 DIALOGUE EDITING IN A NUTSHELL
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334 TRACK TEMPLATE FOR A TYPICAL SM
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336 GLOSSARY ADR call sheet (ADR cu
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338 GLOSSARY Crossfade linking A co
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340 GLOSSARY Fundamental frequency
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342 GLOSSARY LTC (longitudinal time
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344 GLOSSARY along with the locatio
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346 GLOSSARY Sound roll The origina
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352 INDEX Alternate takes (Cont.) f
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354 INDEX Coverage, 337 lined scrip
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356 INDEX Foley editors, 46 Foley e
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358 INDEX Mix workfl ow (Cont.) pre
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360 INDEX Picture editing (Cont.) s
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362 INDEX Shoot fi lm, record sound
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364 INDEX Terminal sounds, in docum
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