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Dialogue Editing

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The Documentary Workspace 295<br />

Table 16-1 Suggested Track Layout for a Documentary Film<br />

Track Name Contents Description<br />

Narr A Primary narration If there’s only one narration voice, recorded<br />

in the same setting, use only one<br />

narration track.<br />

Narr B-? Other narration If there are two or more narrators, or if the<br />

single narrator was recorded in more than<br />

one (different-sounding) session, assign<br />

additional tracks.<br />

Intv A-? Interview/voiceover This is where all interview-based infor-<br />

(or Info A-?) mation is placed.<br />

Use as many tracks as you need, but usually<br />

fi ve or six of these will do.<br />

Scene A-? Scene/vérité material Use these tracks for noninterview material:<br />

B-roll action or cutaways to illuminate the<br />

voiceover; full scenes of character action;<br />

montage constructions. Usually fi ve or six<br />

scene tracks are suffi cient.<br />

Music A-? Musical performances Use these tracks for production music (e.g.,<br />

or other music stripped the band is playing or the string quartet is<br />

from the OMF practicing) or score or acquired music that<br />

you inherited with the OMF.<br />

You can organize your documentary tracks as shown in Table 16-1. Of course,<br />

since each documentary has its own style, you’ll have to adapt your track<br />

plan to the needs of the fi lm, fi lmmaker, and mixer.<br />

Once you’ve organized your tracks, place memory markers on all scene<br />

boundaries. You do this for the same reasons you mark scenes in dramas: to<br />

indicate where to cut dialogue and later backgrounds; to ensure that all scene<br />

cuts are of a desired and predictable length; and to create an easy way to fi nd<br />

scenes and perspective cuts.<br />

Cutting Scenes and Narration<br />

You cut documentary scenes much like you cut dramas. The vérité material<br />

(or véríte scenes or B-roll material, depending on whom you ask) behaves much<br />

like a dramatic scene, so use the same rules of track organization and shot<br />

transition. Within a scene, split shots by character, shooting angle, noise<br />

problems, or whatever else makes sense. Also split off unusually loud or<br />

noisy elements for easier mixing.

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