Dialogue Editing

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Figure 12-12 A Waves PAZ Frequency Analyzer displaying center frequency and amplitude of a harmonic. Figure 12-13 A frequency versus amplitude display of the same buzz shown in Figure 12-10; note the strong harmonic at 1081 Hz. 226
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Dialogue Editing for Motion Picture
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Dialogue Editing for Motion Picture
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In memory of Grant Maxwell, 1958-20
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Contents Foreword . . . . . . . . .
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Foreword I really like this book. B
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Preface There are many books about
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Preface xiii bit of another term th
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Acknowledgments As much as it’s f
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CHAPTER 1 What Is Dialogue Editing?
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Introduction 3 nisms can take us ou
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CHAPTER 2 No One Works in a Vacuum
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How We Got Where We Are 7 It was cl
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How We Got Where We Are 9 Postsynch
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How We Got Where We Are 11 rates, p
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How We Got Where We Are 13 at the p
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Making Movies in the Digital Age 15
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Working in an NTSC Environment 17 2
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19 Shoot BetaCam, DV, HDTV, Other 2
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21 Picture: Camera 24 fps No TC Sou
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Working in a PAL Environment 25 cou
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29 Telecine: Betacam film speed 25
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High Defi nition 31 High Defi nitio
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CHAPTER 3 A Quick Look at Picture E
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A Picture Editing Primer (NTSC Vers
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41 ASSEMBLE LIST - - - - - - - Reel
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CHAPTER 4 The Sound Department Ther
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The Players 45 Dialogue Supervisor
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CHAPTER 5 Getting Sound from the Pi
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The Picture Cutting Room 49 of the
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Essentials for Dialogue Editing 51
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The OMF and a Brief History of Nonl
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The OMF and a Brief History of Nonl
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Exporting the OMF from the Avid 57
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The Edit Decision List 59 The Edit
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The Edit Decision List 61 but is in
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The Edit Decision List 63 very old
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The Edit Decision List 65 LOST IN J
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The Edit Decision List 67 of the Av
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The Edit Decision List 69 An easy w
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The Auto-Assembly 71 Figure 5-7 Eve
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The Auto-Assembly 73 you read Mad m
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The Auto-Assembly 75 Figure 5-8 Tit
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Metadata Demystifi ed 77 pipeline,
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Metadata Demystifi ed 79 Figure 5-9
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CHAPTER 6 Burn-Ins, File Names, and
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Make a Timecode Burn-In 83 Most Avi
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Back up Your Files 85 Of course, ea
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CHAPTER 7 Screening the OMF/PostCon
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Job Bid Form Client and Contact Inf
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CHAPTER 8 Managing Your Time Unlike
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Set Daily Goals 93 Figure 8-1 A tim
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Set Daily Goals 95 Schedule Your Ti
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97 Figure 8-2 One month of a dialog
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Estimate How Long the Editing Will
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CHAPTER 9 Getting Started on Dialog
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Sync Now! 103 Syncing the OMF and t
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Setting Up Your Editing Workspace 1
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Eliminating Unnecessary Mono Region
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Scenes 113 Figure 9-4 Locate dual m
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Beeps, Tones, and Leaders 115 Marke
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Beeps, Tones, and Leaders 117 machi
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Beeps, Tones, and Leaders 119 you e
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Beeps, Tones, and Leaders 121 SMPTE
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Wild Sound 123 Finding Wild Sound W
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Wild Sound 125 Your name Your conta
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Wild Sound 127 all sounds BFW mono
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CHAPTER 10 Now, the Actual Editing
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Splitting Tracks 131 Be careful not
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Splitting Tracks 133 32 32A Edmund
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Splitting Tracks 135 picture cuts t
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Shot Balancing and the Rules of Thu
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Using Room Tone When Editing Dialog
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Working with More Than One Channel
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Multitrack Recordings 167 problem m
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Making Sense of a Scene 169 resourc
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Making Sense of a Scene 171 These m
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CHAPTER 11 Image, Depth, and Perspe
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Depth 175 You can place or pan a pr
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Perspective 177 productions, so you
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Perspective 179 clean nervously whi
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Using the Right Edit 181 Editing th
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Using the Right Edit 183 Figure 11-
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Using the Right Edit 185 Figure 11-
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CHAPTER 12 Damage Repair You’ve s
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What Are Noises? 189 Electronics Br
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Evaluating Noises 191 Dollies and C
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Evaluating Noises 193 Actors less c
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Fixing Noises 195 Clothing We’ve
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Fixing Noises 197 Figure 12-2 Good
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Fixing Noises 199 If there’s a sh
Page 434: Fixing Noises 201 Repairing Distort
Page 438: Alternate Takes 203 Before you begi
Page 442: Alternate Takes 205 Find the Correc
Page 446: Alternate Takes 207 Is the offendin
Page 450: Alternate Takes 209 Durability. Alt
Page 454: Alternate Takes 211 Place a marker
Page 458: Alternate Takes 213 The director ha
Page 462: Alternate Takes 215 Figure 12-7 Dig
Page 466: Alternate Takes 217 88B—single sh
Page 470: Alternate Takes 219 division of lab
Page 474: Reducing Ambient Noises 221 the mix
Page 478: Reducing Ambient Noises 223 process
Page 482: Reducing Ambient Noises 225 Figure
Page 488: 228 DAMAGE REPAIR updated FFTs. The
Page 492: 230 DAMAGE REPAIR Figure 12-16 If y
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Page 500: 234 PRODUCTION FX AND GUIDE TRACKS
Page 512: 240 CONFORMATIONS Figure 14-1 Excer
Page 516: 242 CONFORMATIONS editor to create
Page 520: 244 CONFORMATIONS Click on any trac
Page 524: 246 CONFORMATIONS conform your sess
Page 528: 248 ADR Perspective and voice quali
Page 532: 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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Dialogue Editing

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