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354 INDEX<br />
Coverage, 337<br />
lined scripts for, 51<br />
of off-mic shots, 247<br />
on script reports, 132<br />
Crackle<br />
mic, 200<br />
removing, 224–227<br />
Cranes, as noise source, 191, 202<br />
Crew, as noise source, 189, 192<br />
Crosland, Alan, 8<br />
Cross-modulation tests, 338<br />
Crossfade linking control, 338<br />
Crossfades, 337<br />
choosing correct, 181–185<br />
dialogue in, 160<br />
for noise repair, 155–156, 197<br />
for perspective cuts, 183–185<br />
from PFX to dialogue, 234<br />
and room tones, 142–143, 152–153<br />
for transition smoothness, 144<br />
Cue sheets, 338<br />
for ADR, 255–257<br />
in mix preparation, 307–309<br />
Cues<br />
in ADR, 275<br />
for alternate takes, 206<br />
Cut lists, 338<br />
for negative cutters, 40<br />
Cutaways, 338<br />
in documentaries, 294<br />
Cutting room relationships, 47–50<br />
Daily goals<br />
schedules, 95–96<br />
setting, 92–96<br />
Damage repair for noise. See Noises<br />
Data entry pages, for ADR, 262–263<br />
DAT (Digital Audio Tape) recording<br />
in NTSC workfl ows, 20–24<br />
in PAL workfl ows, 25–28<br />
DAWs. See Digital audio workstations<br />
De-clickers, 200–202<br />
De Forest, Lee, 7<br />
DeClick plug-in, 200<br />
DeCrackle plug-in, 200<br />
Deep-cut fi lters, 224<br />
Demeny, Georges, 7<br />
DeNoise processor, 222<br />
Dental work, as noise source, 193–194<br />
Depth, 175<br />
achieving, 175–176<br />
and mix process, 176–177<br />
Destructive processes, 86, 338<br />
Detailed spotting, 254<br />
<strong>Dialogue</strong> supervisors and editors, 45<br />
Dickson, W. K. L., 7<br />
DigiDelivery service, 57<br />
Digital audio workstations (DAWs), 10, 338<br />
Digital tracking, as noise source, 193<br />
Digitization, in picture editing, 33–37<br />
DigiTranslator utility, 338<br />
Directors<br />
and ADR, 267<br />
meetings with, 87–88<br />
Disk recorders, 24<br />
alternate takes with, 208–210<br />
autoconforming fi les from, 74–75<br />
metadata from, 77–80<br />
NTSC workfl ows, 22–24<br />
Distortion repair, 201<br />
Documentaries, 293<br />
cadence and voice matching in, 298–299<br />
challenges in, 293–294<br />
organizing tracks, 294–295<br />
scene and narration editing, 295–296<br />
sound effects in, 300–301<br />
talking heads and voiceovers in,<br />
296–298<br />
terminal sounds in, 299–300<br />
Dolby noise reduction, 10<br />
Dolby SR, 338<br />
Lt/Rt print masters, 320<br />
Dolly noises, 88, 191, 202, 219<br />
Don Juan, 8<br />
Double system, 338<br />
in early sound, 7<br />
PAL workfl ows, 25<br />
Double-voicing, 170<br />
Drop-frame timecode, 18<br />
Dropouts, 192<br />
Dual mono tracks, 339<br />
working with, 111–114<br />
Dubbers, 339<br />
operation of, 307
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