Dialogue Editing

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282 Figure 15-14 Preparing for time expansion/compression. Below the dialogue reference track, place at least two copies of the take you want to manipulate. In this example, the highlighted line on ADR work track 1 is being processed; the copy below is the virgin.
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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
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Fixing Noises 201 Repairing Distort
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Alternate Takes 203 Before you begi
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Alternate Takes 205 Find the Correc
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Alternate Takes 207 Is the offendin
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Alternate Takes 209 Durability. Alt
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Alternate Takes 211 Place a marker
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Alternate Takes 213 The director ha
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Alternate Takes 215 Figure 12-7 Dig
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Alternate Takes 217 88B—single sh
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Alternate Takes 219 division of lab
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Reducing Ambient Noises 221 the mix
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Reducing Ambient Noises 223 process
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Reducing Ambient Noises 225 Figure
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Reducing Ambient Noises 227 Figure
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To Process or Not to Process 229 su
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To Process or Not to Process 231 So
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CHAPTER 13 Production FX and Guide
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Production FX 235 Figure 13-2 Addin
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Making Guide Tracks 237 Why is a gu
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CHAPTER 14 Conformations “But the
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The Conformation Defi ned 241 Optio
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Manual Conformations 243 Figure 14-
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Automated Conformations 245 Save As
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CHAPTER 15 ADR Sooner of later you
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Looping, ADR, and Postsync 249 char
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Looping, ADR, and Postsync 251 sor,
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Preparing for ADR 253 Initial Spott
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Organizing ADR Paperwork 255 the sh
Page 546: Organizing ADR Paperwork 257 ADR Ca
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Page 558: 263 Figure 15-4 Data entry form for
Page 562: The ADR Recording Session 265 More
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Page 570: Preparing Dialogue Tracks for ADR 2
Page 574: 271 Figure 15-8 Room tone isn’t o
Page 578: ADR Editing 273 Figure 15-9 A detai
Page 582: ADR Editing 275 changed, drag the A
Page 586: ADR Editing 277 Figure 15-12 It’s
Page 590: ADR Editing 279 When you’re pieci
Page 594: ADR Editing 281 plug-in pitch-shift
Page 600: 284 ADR of a word) as an alignment
Page 604: 286 Figure 15-15 VocALign compares
Page 608: 288 ADR There’s another reason fo
Page 612: 290 ADR Editing Group Loop Editing
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Page 620: 294 EDITING PRODUCTION SOUND FOR DO
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Page 640: 304 PREPARING FOR THE MIX sedan or
Page 644: 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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