Dialogue Editing

64 GETTING SOUND FROM PICTURE DEPARTMENT TO SOUND DEPARTMENT
(audio 1–4, audio 5–8, audio 9–12, video, etc.), as shown in Figure 5-4. These
lists all look alike, and when you’re hurriedly searching for an alternate take,
it’s useful to know which is which.
Print with a fi xed-width font such as Courier 10. If you have someone do
the printing, check the fi rst few pages. It’s not uncommon for an EDL illiterate
to improperly wrap the lines, making the lists all but impossible to use.
Cleaning an EDL
Traditional Film Uses Feet and Frames
Frame 13—In Frame 12—Out
Frame 4—In
0 00000000000000 0 0000000000000000000000 00
0 0
14 13 12 1110 9 8 7 6
5 4 3
Tail Head
00000000000000 0 0000000000000000000000000 0 0 0 0
Frame 13—In Frame 13—Out
Video Uses Timecode
Frame 4—In
Figure 5-3 The out point of a shot is measured differently in video than in fi lm. In
fi lm, the last frame physically within a shot is considered the out frame; the next
shot begins with the next frame. In video, out is considered to be the frame after
the end of the shot, and the next in frame will have the same timecode value.
If you’re going to auto-assemble 7 from tape or link fi les from original 24-bit
BWF fi les, you’ll almost certainly have to do some preparatory work on the
EDL. It’s important that the list is clean, containing no illegal situations in
which edits end before they start or where column widths aren’t standardized.
You must also confi rm that naming conventions are respected and that
notations are consistent.
7 By now it should be pretty clear that I’m using the term “auto-assembly” or “autoconform”
to generically describe using an EDL and original recordings to recreate the picture editor’s
audio cuts. PostConform is a commonly used term, but since it’s a Digidesign trademark, I try
to avoid it. Most DAW manufacturers provide such a utility, either within their DAW program
or as a freestanding application.