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Dialogue Editing

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310 PREPARING FOR THE MIX<br />

and much more likely to break than are box after box of mag elements. For<br />

these reasons, always have a sensible backup plan.<br />

FireWire drives are becoming cheaper by the day, which is why I use them<br />

for backing up my fi les during editing. I use two large drives: one for editing<br />

and one for daily backup. Before the mix I consolidate my sessions and store<br />

them in a new folder called “For Mix,” or something equally clever, which I<br />

copy onto both drives so that I have two identical options for the mix.<br />

By far the cheapest way to make a fi nal archive is to copy this folder onto a<br />

DVD-R, which is nowadays nothing more than a big fl oppy drive. You probably<br />

won’t be able to copy your entire fi lm project onto one disk, so break it<br />

down by reels. If your system doesn’t allow reel-by-reel fi ling (that is, if all<br />

of your dailies are in one huge folder), fi nd a workaround that makes<br />

sense.<br />

The beauty of archiving onto DVD is that the 12 cm disks are light and very<br />

easy to ship or carry, and although not completely robust, they’ll still withstand<br />

a tumble or a bath better than your FireWire drive. Make one DVD-R<br />

backup for yourself. This will be the copy you slip into your bag and carry<br />

to the mix just in case. When the mix is fi nished, keep it for your records. It’s<br />

good for future reference and will come in handy if you ever decide to write<br />

a book about dialogue editing. Pack up the other one with the rest of the<br />

editing room materials and give it to the production offi ce.<br />

The end of the editing process is a bad time to be without an assistant. Not<br />

only do you have to prepare for the mix on your own, but you also need to<br />

pack up and inventory the cutting room. Thankfully, a modern dialogue<br />

job can be stowed away in a matter of minutes. As you box up all the<br />

materials—DATs and videotapes, paperwork, and any special equipment<br />

that belongs to the production—make a log of what’s in each box. Tape the<br />

log to its box and send copies to the production offi ce. Keep one for yourself.<br />

This is a minor hassle, but it can protect you if you need to fi nd something<br />

later or if the production offi ce claims you took their Kensington mouse.

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