Dialogue Editing

Dialogue Editing in a Nutshell 327
4.4. Label the original OMF tracks: “OMF 1,” “OMF 2,” . . . “OMF 8,”
and so on.*
4.5. Label the original autoconform tracks: “Conf 1,” “Conf 2,” . . .
“Conf 8” (depending on how wide your autoconform was). Or
call these auto-assembly tracks “Assy 1,” . . . “Assy 8.” You’ll add
other tracks for ADR, X and Y, and PFX later. No point clogging
up your session so soon.*
4.6. Adjust the DAW outputs to match your monitoring setup. A
truly hip cutting room will provide L,C,R monitoring so that
dialogue can be monitored in true mono rather than phantom
center.*
5. Set up a sensible saving/naming plan for the project. (Chapter 6)
6. Import and sync the fi lm if you’re working to a digital picture fi le.*
6.1. Obtain a “hard copy” (e.g., Betacam) of the fi nal picture rather
than just a QuickTime or AVI movie. This allows you to recreate
a video fi le, if needed, and gives you more control of the
information superimposed onto the digital movie.
6.2. When you create your video fi le, create a timecode burn-in of
the record time. If possible, place the timecode window outside
of the image area. Make it as small as possible and don’t cover
up other windows (placing the timecode burn-in at the top or
bottom is an issue for you and the other members of your crew
to decide).*
6.3. Record audio and video when you make your digital movie fi le.
This audio guide track will help you to determine if your tracks
are in sync with the edited work track but won’t necessarily
ensure sync with the picture.*
6.4. Sync the QuickTime video with the audio timeline in the
DAW.*
7. Check the sync of the OMF against the guide track. Get the entire project in
absolute sync before beginning to edit. This way you won’t have worry
about it for the rest of the project. (Chapter 9)
7.1. Create an edit group for the OMF tracks.
7.2. Open the movie’s audio guide track onto a track outside the
OMF edit group, in sync with the movie. Lock the track so that
you don’t inadvertently move it.
7.3. Solo the movie’s audio along with the OMF group and play the
session. If the two are in sync, you’ll hear phasing. If not, the
OMF track will have to be nudged to bring it into sync. Usually,
the OMF is either in dead sync or out by half a frame.