Dialogue Editing

Eliminating Unnecessary Mono Regions 111
If a 1-reel session is damaged or corrupted, it’s less catastrophic than
when a 6-reeler is wrecked.
The horizontal scroll bar has much better resolution in short sessions.
A version change in one reel is easier to deal with than it would be in
a composite session. You can modify the affected reel, change its name
to refl ect the version number change, and nothing else is affected.
Some workstations give you a limited number of memory locater
markers, useful tools for marking scene boundaries, perspective cuts,
and the like. Older Pro Tools, for example, give you 200 memory
markers per session, which is seldom enough for an entire fi lm but
typically adequate for a reel of dialogue.
Eliminating Unnecessary Mono Regions
When recording to tape, many location mixers will print onto two channels,
whether mono shots recorded with one boom microphone or split tracks
(such as a boom on one channel and a radio microphone mix on the other).
(See Figure 9-3.) The result: Almost all of your sound from the OMF or autoassembly
will come to you in the form of pairs. Sometimes a pair contains
two different signals, but often it contains two identical tracks.
Before you start editing, fi nd these dual mono tracks and delete one side of
the pair. The duplicate does you no good whatsoever and can cause all sorts
of trouble, including the following.
Figure 9-3 A dual mono event (left) and a split track event.