Dialogue Editing

Index 359
single-system production and editing
workfl ow, 18–20
Nudge value, 342
for OMF syncing, 104
Off-screen smacks, 194
OMF-1 and OMF-2 standards, 55–56
OMF (Open Media Framework) fi les, 18
from bins, 38–39
conversion steps, 326
defi ned, 342
evaluating, 49
exporting from Avid, 56–58
introduction of, 55–56
need for, 51
in nonlinear editing, 54–56
spotting sessions, 87–90
syncing, 104, 327
workspace setup for, 106–107
One light transfers, 34, 342–343
Opening up tracks for conformations,
243–244
Optical cameras and recorders, 343
Optical soundtracks, 343
Optimizing EDLs, 67
Options page, in EDL Manager, 65–66
Ordering
conformation material, 244
group loop, 290–291
out of sequence editing, 99–100
in premix planning, 314
Organization
of documentaries, 294–295
in picture editing, 37–38
of regions, 329–330
of scenes, 131–133
Original recordings and sound reports, 51
Out of sequence editing, 99–100
Output tape, 40, 343
Overlaps, 343
repairing with alternate takes, 216–218
in multitrack editing, 161–163
Packaging, in mix preparation, 309–310
PAL (phase alternating line) standard,
16–17, 24–25
defi ned, 343
head plops for, 120
high-defi nition workfl ows, 31–32
shoot fi lm, record sound on hard-disk
recorder, edit picture and sound
workfl ow, 28–29
shoot fi lm, record sound on tape, edit
picture and sound workfl ow, 25, 27–28
shooting and posting at 25 fps, 28, 30
shooting fi lm and recording sound for
PAL TV, 30–31
single-system workfl ows, 25–26
Pan automation, 328
Panning dialogue, 174–175
Paperwork, for ADR, 255–264
Pauses in ADR, editing, 279
Perspective, 177–178
for emotional separation, 178–179
for physical distance, 179
replacement lines for, 248
for social isolation, 179–180
telephone splits, 180–182
Perspective cuts, 343
crossfades for, 183–185
PFX (production sound effects), 343
in mix recording, 317
noisy, 236
room tone for, 234–235
track splitting, 233–234
Phasing, in multitrack editing, 159
Phenakistoscope, 6
Phone splits, 2
correct crossfades, 181–185
defi ned, 343
working with, 180–182
Physical distance, perspective for, 179
Picture and sound sync references, in
NTSC, 17, 20–22
Picture cutting room process, 13, 33–42
Picture department, working with, 47–48
auto-assembly, 70–76
EDLs and. See EDLs
exporting OMF from Avid, 56–58
materials needed from, 50–52
metadata, 76–80
nonlinear editing, 53–56
reel splitting, 52–53
Picture editing, 33
fi rst assembly, 38
material organization, 37–38