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Dialogue Editing

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The Edit Decision List 67<br />

of the Avid session or the videotape to make sure you’ve done nothing stupid<br />

with the timecode.<br />

The Switcher setting in the Standards section concerns the protocol with<br />

which the editor controller communicates with the video switcher (“vision<br />

mixer”). You needn’t bother with this. Do, however, set Audio Channels to 4.<br />

The oh-so-exciting option of 16 channels isn’t valid for CMX3600 EDLs.<br />

Record Start Time is set to Sequence and left alone. Don’t mess with this one<br />

unless you’re prepared to offset all of your regions once the new sessions are<br />

conformed.<br />

Pulldown Start Frame has to do with the correlation between the video color<br />

framing sequence and the 4-frame 2 : 3 : 2 telecine pulldown sequence. Normally<br />

default to Sequence, which uses the parameters embedded in the original<br />

list. Good news for PAL editors—this isn’t your problem!<br />

Tapename Truncation controls how overlong tape (source) names are shortened<br />

into CMX3600 legal names. The choices are obvious.<br />

Finally, the big moment: Optimization. This determines how events will be<br />

modifi ed in the new EDL and therefore how your auto-assembly will interpret<br />

transitions like dissolves, wipes, and, most important, audio dissolves.<br />

You’re not interested in keeping the picture editor’s transitions—besides,<br />

the OMF gives you a perfect reference of what the editor was up to when he<br />

made them. Why muddy up the EDL with all these unnecessary dissolve<br />

commands? Check all of the options except Include Black Edits, which is<br />

unnecessary.<br />

Click Apply and you’ll see the cleaned EDL in the EDL Manager window.<br />

Save it into an appropriately named folder, using a hierarchy something like<br />

this:<br />

Lost in Jordan (fi lm title)/<br />

EDLs (all EDL fi les)/<br />

EDLs postcleaning (as opposed to raw EDLs or print-ready EDLs)/<br />

Repeat for each EDL. Remember, there’ll be a lot of EDLs per reel. Each reel<br />

could easily have three or four audio EDLs and a video EDL, so on a 6-A/<br />

B-reel fi lm you may have 30 EDLs per “layer” (raw EDLs, postclean, printready,<br />

etc.). It pays to be obsessively organized.<br />

Optimizing an edit list does more than enforce the changes you’ve chosen.<br />

An EDL cleaning program will format the list in a manner acceptable to<br />

most auto-assembly utilities. Some picture workstations generate EDLs not

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