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352 INDEX<br />
Alternate takes (Cont.)<br />
fi nding, 203–210<br />
overlaps in, 216–218<br />
for room tone, 153<br />
speed changes in, 207, 213–215<br />
synching, 211–212, 215–216<br />
for wind distortion, 218–219<br />
Alternate mixes, for TV and airplane<br />
versions, 321<br />
Ambiances vs. room tone, 148<br />
Ambient noise, 220<br />
complexity of, 229<br />
overprocessing, 229<br />
plans for reducing, 223–229<br />
preparation for processing, 221<br />
role of supervising sound editor and<br />
mixer for reducing, 220–221<br />
tools for reducing, 221–223<br />
Analogue-to-digital-to-analogue (A/D/A)<br />
converters, 22, 71, 115<br />
Angles for alternate takes, 207<br />
Answer prints, 336<br />
fi rst answer print, 14<br />
in mix preparation, 304–306<br />
resyncing to, 305–306<br />
Apprentices, 44<br />
Assemblies, 336<br />
automated. See Auto-assembly<br />
in picture editing, 38<br />
Assistant sound editors, 44, 47–49<br />
Atmospheres vs. room tone, 148<br />
Attack, 170<br />
Attenuation, in crossfades, 185<br />
Attitude, in alternate takes, 207<br />
Audio decision lists (ADLs), 335<br />
purpose, 63<br />
Audio EDLs. See EDLs<br />
Audio Engineering Society (AES) standards,<br />
55<br />
AudioSuite plug-ins<br />
in ADR editing, 281<br />
for ambient noise, 221<br />
for reference tones, 119<br />
Auto-assembly, 20<br />
autoconforming from fi les, 74–75<br />
for conformations, 244<br />
defi ned, 336<br />
EDLs for, 36<br />
from hard-disk recorders, 74–75<br />
merging channels, 76<br />
in nonlinear editing, 54–56<br />
set-up, 70–72<br />
step-by-step process, 72–74<br />
syncing, 104–105, 328<br />
tools for, 245–246<br />
Autoconform. See Auto-assembly<br />
Automated dialogue replacement. See ADR<br />
Automating ADR paperwork, 262–264<br />
Avid brand of video workstation<br />
bins in, 37–38<br />
change notes from, 240–241<br />
EDL Manager program, 65–68<br />
with OMF, 55–58<br />
syncing shots in, 36<br />
Avid Log Exchange (ALE) fi les, 35–36, 336<br />
AX (AUXILLARY) source, 62<br />
B-roll material, 336<br />
for documentaries, 294–295<br />
Background<br />
vs. room tone, 148<br />
sound effects, 44<br />
Background voices, adding lines for, 249<br />
Backups<br />
for ADR, 269<br />
for alternate takes, 209<br />
in mix preparation, 309–310<br />
overview, 85–86<br />
Balancing shots, 137–142<br />
noise and smoothness tradeoffs in, 144<br />
room tone source minimization for,<br />
142–143<br />
scene design for, 144–145<br />
transition handles in, 145–146<br />
Barroom chatter, 288<br />
Batch digitizing, 336<br />
Beeps, 115, 119–120<br />
for 25 fps projects, 25, 120<br />
defi ned, 344<br />
for guide tracks, 237<br />
Biased recording, 9<br />
Bins, 336<br />
Avid, 37–38<br />
Bird chirping noise, 228<br />
BITC (burnt-in timecode), 81–84<br />
Blimps, 9
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