Dialogue Editing

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19 Shoot BetaCam, DV, HDTV, Other 29.97 fps Optional Record Sound to DAT/disk 44.1/48 KHz SMPTE TC 29.97 fps Load Picture (lowres) and Sound to Avid Video Edit on Avid Wild sound and alternate takes Hi-Res Video Online OMF or Autoconform Spot and Record Foley Dialogue (production) Edit Record Narration (documentary) Spot and Record ADR (drama) Check sync Other Editing • ADR • SFX • BG • Narration (documentary) • Foley • Music Premixes (varies) • Dialogue • SFX • BG • Music Final Mix M&E Mix Layback Final Sound to Online Master Figure 2-2 Postproduction workfl ow: Shoot in single-system NTSC, post in NTSC. For better quality and easier postproduction, backup sound can be recorded separately, using the same timecode as the camera’s. An OMF of the picture editor’s sound fi les and edits can be used for dialogue, or the sound team can auto-assemble the original production sounds using the master tapes, an EDL from the Avid, and appropriate software.
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Dialogue Editing for Motion Picture
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Dialogue Editing for Motion Picture
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In memory of Grant Maxwell, 1958-20
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Contents Foreword . . . . . . . . .
Page 18: Foreword I really like this book. B
Page 22: Preface There are many books about
Page 26: Preface xiii bit of another term th
Page 30: Acknowledgments As much as it’s f
Page 34: CHAPTER 1 What Is Dialogue Editing?
Page 38: Introduction 3 nisms can take us ou
Page 42: CHAPTER 2 No One Works in a Vacuum
Page 46: How We Got Where We Are 7 It was cl
Page 50: How We Got Where We Are 9 Postsynch
Page 54: How We Got Where We Are 11 rates, p
Page 58: How We Got Where We Are 13 at the p
Page 62: Making Movies in the Digital Age 15
Page 66: Working in an NTSC Environment 17 2
Page 72: 20 NO ONE WORKS IN A VACUUM is a po
Page 76: 22 NO ONE WORKS IN A VACUUM The ass
Page 80: 24 NO ONE WORKS IN A VACUUM A disk-
Page 84: 26 Shoot BetaCam, DV, HDTV, Other 2
Page 88: 28 NO ONE WORKS IN A VACUUM feet, 1
Page 92: 30 NO ONE WORKS IN A VACUUM so more
Page 96: 32 NO ONE WORKS IN A VACUUM Ironica
Page 100: 34 A QUICK LOOK AT PICTURE EDITING
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44 THE SOUND DEPARTMENT subordinate
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46 THE SOUND DEPARTMENT props neede
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48 GETTING SOUND FROM PICTURE DEPAR
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82 BURN-INS, FILE NAMES, AND BACKUP
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88 SCREENING THE OMF/POSTCONFORM—
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90 SCREENING THE OMF/POSTCONFORM—
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92 MANAGING YOUR TIME • What are
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94 MANAGING YOUR TIME Table 8-1 Dia
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96 MANAGING YOUR TIME Step Time Pro
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98 MANAGING YOUR TIME Although it
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100 MANAGING YOUR TIME of the fi lm
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102 GETTING STARTED ON DIALOGUE EDI
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116 Figure 9.6 Markers (top) are ad
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130 NOW, THE ACTUAL EDITING Figure
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132 NOW, THE ACTUAL EDITING are eng
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138 NOW, THE ACTUAL EDITING all sor
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140 NOW, THE ACTUAL EDITING of the
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144 NOW, THE ACTUAL EDITING Rule Tw
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148 NOW, THE ACTUAL EDITING atmosph
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150 NOW, THE ACTUAL EDITING created
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158 NOW, THE ACTUAL EDITING microph
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160 NOW, THE ACTUAL EDITING the two
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168 NOW, THE ACTUAL EDITING Still,
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170 NOW, THE ACTUAL EDITING laugh,
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172 NOW, THE ACTUAL EDITING When yo
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174 IMAGE, DEPTH, AND PERSPECTIVE u
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176 IMAGE, DEPTH, AND PERSPECTIVE S
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178 IMAGE, DEPTH, AND PERSPECTIVE b
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180 IMAGE, DEPTH, AND PERSPECTIVE g
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182 IMAGE, DEPTH, AND PERSPECTIVE F
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184 IMAGE, DEPTH, AND PERSPECTIVE F
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188 DAMAGE REPAIR cases, where nois
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190 DAMAGE REPAIR How do you learn
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192 DAMAGE REPAIR Crew Remember, th
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194 DAMAGE REPAIR noise is almost c
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196 DAMAGE REPAIR Figure 12-1 Small
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198 DAMAGE REPAIR on an appropriate
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200 DAMAGE REPAIR Reducing Clothing
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202 DAMAGE REPAIR program material
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204 DAMAGE REPAIR It’s useful to
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206 DAMAGE REPAIR Table 12-1 Common
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208 DAMAGE REPAIR You need to fi x
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210 DAMAGE REPAIR editing. Having e
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212 DAMAGE REPAIR Find a landmark c
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214 DAMAGE REPAIR In extreme cases,
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216 DAMAGE REPAIR Cut and paste the
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218 DAMAGE REPAIR be careful of the
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220 DAMAGE REPAIR Reducing Ambient
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222 DAMAGE REPAIR Figure 12-9 Befor
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224 DAMAGE REPAIR Figure 12-10 An F
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Figure 12-12 A Waves PAZ Frequency
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228 DAMAGE REPAIR updated FFTs. The
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230 DAMAGE REPAIR Figure 12-16 If y
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234 PRODUCTION FX AND GUIDE TRACKS
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240 CONFORMATIONS Figure 14-1 Excer
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242 CONFORMATIONS editor to create
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244 CONFORMATIONS Click on any trac
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246 CONFORMATIONS conform your sess
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248 ADR Perspective and voice quali
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250 ADR Looping Long before digital
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252 ADR Preparing for ADR One thing
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254 ADR can do to save it. If you c
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256 ADR ADR call list)—a list of
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258 ADR down and make you cry if yo
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260 ADR actor’s lines "Lost in Jo
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262 ADR Automating ADR Paperwork If
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264 ADR The ADR Recording Session A
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266 ADR combination of the two depe
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268 ADR This is a good time to ask
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270 ADR something, typically room t
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272 ADR removed for ADR. Before mov
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274 Figure 15-10 When syncing an AD
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276 Figure 15-11 An almost perfectl
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278 ADR Find the qualifying alterna
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280 ADR If a vowel is terminated wi
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282 Figure 15-14 Preparing for time
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284 ADR of a word) as an alignment
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286 Figure 15-15 VocALign compares
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288 ADR There’s another reason fo
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290 ADR Editing Group Loop Editing
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294 EDITING PRODUCTION SOUND FOR DO
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304 PREPARING FOR THE MIX sedan or
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306 PREPARING FOR THE MIX Table 17-
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308 Title: Lost in Jordan Reel: 1 D
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310 PREPARING FOR THE MIX and much
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312 THE MIX Given its schizophrenic
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314 THE MIX You will have several d
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316 THE MIX Table 18-1 Dialogue Pre
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318 THE MIX If the mixer insists on
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320 THE MIX Dolby SR The only survi
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324 AFTERWORD scream. But most of t
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326 DIALOGUE EDITING IN A NUTSHELL
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334 TRACK TEMPLATE FOR A TYPICAL SM
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336 GLOSSARY ADR call sheet (ADR cu
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338 GLOSSARY Crossfade linking A co
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340 GLOSSARY Fundamental frequency
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342 GLOSSARY LTC (longitudinal time
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344 GLOSSARY along with the locatio
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346 GLOSSARY Sound roll The origina
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352 INDEX Alternate takes (Cont.) f
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354 INDEX Coverage, 337 lined scrip
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356 INDEX Foley editors, 46 Foley e
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358 INDEX Mix workfl ow (Cont.) pre
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360 INDEX Picture editing (Cont.) s
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362 INDEX Shoot fi lm, record sound
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364 INDEX Terminal sounds, in docum
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