Dialogue Editing

Dialogue Editing in a Nutshell 331
16.1.5. “TV-safe” alternate lines (none of the seven deadly
words).
16.1.6. Very high ambient noise.
16.1.7. Distortion.
16.1.8. “Additional” lines requested by the director (off-screen,
exposition, explanations).
16.1.9. Additional breaths, smacks, sighs, and so on to enhance
drama or action.
16.1.10. Group loop (background walla, specifi c background
action, pages and announcements, other crowd sounds).
16.2. Spot ADR.
16.2.1. Break lines into short segments and assign each
segment its own code number. Usually the code consists
of the fi rst three letters of the character’s name followed
by a series number; this will become the “root” of the
soundfi le name during ADR recording.
16.2.2. Spot the exact timecode or footage start and stop. Scrub
to the exact beginning of modulation to get the precise
start time. Generally add ½ second to the out time to
allow for decay.
16.3. Prepare for recording session.
16.3.1. Make a list of lines for each character. Type everything.
16.3.2. Prepare the ADR recording report forms.
16.4. Prepare the recording sessions (beeps, track names, locate
points) if you’re recording to a workstation. If you’re using
another process, work with the ADR recording engineer to
streamline the session. Record ADR. You probably won’t record
the ADR, but instead provide information for the ADR
supervisor or supervising sound editor. Use the paperwork to
make notes about the recording session. (Chapter 15)
17. Second pass. Edit the ADR/group loop (unless there’s an ADR editor),
improving your fi rst-pass edits, repairing items you didn’t get to in
the fi rst pass, and better organizing the tracks. This is another chance
to talk to the rerecording mixer about track layout. (Chapter 15)
17.1. Edit ADR. Use the ADR recording reports to tell you which
take to use, how to put together complicated ADR sections, and
to check off the ADR call as completed.
17.2. Tackle unfi nished dialogue problems.
17.3. Remove remaining production noises.