Dialogue Editing

APPENDIX A
Dialogue Editing in a Nutshell
Regardless of the shooting format or the video standard, all dialogue editing
follows more or less the same path. Only the details vary depending on style,
budget, and schedule.
This outline of the steps involved in editing dialogue for a theatrical dramatic
fi lm should help you plan your work and track your progress, whatever your
project. Don’t consider it etched in stone but rather as a reminder. Keep in
mind that the type of fi lm being edited determines whether all steps will be
required or if some will be replaced. For example, documentaries generally
don’t need ADR, and shorter TV schedules eliminate some steps because of
time constraints.
Depending on the project, you probably won’t perform all of the tasks outlined,
particularly much of the setup for editing, which is traditionally
handled by the assistant sound editor (indicated by an asterisk,*) or by the
assistant picture editor (indicated by a double asterisk,**).
Of course, on very small-budget jobs, the entire process usually falls into
your lap.
Preparation
1. Meet with the picture editor and watch a few scenes of the offl ine edit before
the fi lm is fi nished. (Chapter 5)
1.1. Understand how the editor thinks and what “traps” await you.
1.2. Ask the assistant picture editor to set aside important wild
sounds or alternates if possible. It’s often easier for him to fi nd
this material than for you to look for them in the dailies.
1.3. Listen to a few scenes to see if the OMF sound is acceptable.
Find out how the sound was digitized into the Avid so you can
decide whether the OMF is usable or if you have to use the
original fi eld recordings.
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