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362 INDEX<br />
Shoot fi lm, record sound on hard-disk<br />
recorder, edit picture and sound<br />
workfl ow<br />
NTSC environment, 22–23<br />
PAL environment, 28–29<br />
Shoot fi lm, record sound on tape, edit<br />
picture and sound workfl ow<br />
NTSC environment, 20–22<br />
PAL environment, 25, 27–28<br />
Shoot fi lm or tape, record sound on hard<br />
disk, edit workfl ow, 22–24<br />
Shooting and posting at 25 fps workfl ow,<br />
28, 30<br />
Shooting dates, for scenes, 51<br />
Shooting discontinuity, 2<br />
Shooting fi lm and recording sound, for PAL<br />
TV workfl ow, 30–31<br />
Short clicks, 192, 197–199<br />
Shots, 345<br />
balancing. See Balancing shots<br />
end of, 63<br />
scene organization by, 131–133<br />
sequences, 2<br />
Show section, in EDL Manager, 66<br />
Shuffl e mode<br />
for rippling tracks, 108<br />
for room tone editing, 151<br />
Sibilant sounds, in ADR editing, 280<br />
Silence and room tone, 148–149<br />
Silent pictures, 7–8<br />
Single-system workfl ows, 345<br />
NTSC environment, 18–20<br />
PAL environment, 25–26<br />
Size of sessions, 109–111<br />
Slate naming system, 132<br />
Smoothness<br />
in multitrack editing, 165<br />
noise tradeoffs with, 144<br />
SMPTE (Society of Motion Picture and<br />
Television Engineers), 345<br />
leaders, 121<br />
nonlinear editing standards, 55<br />
SMPTE timecode<br />
drop frame, 18<br />
early predecessor, 53<br />
non-drop frame, 18<br />
Social isolation, perspective for, 179–180<br />
Sound<br />
in auto-assembly, 72–73<br />
in picture editing, 38–40<br />
“Sound and Image,” 8<br />
Sound bumps<br />
in documentaries, 300<br />
from room tone changes, 148<br />
Sound department, 43<br />
ADR engineers, 45<br />
ADR supervisors and editors, 45<br />
apprentices, 44<br />
assistant sound editors, 44<br />
dialogue supervisors and editors, 45<br />
Foley editors, 46<br />
Foley supervisors, 45–46<br />
Foley walkers and engineers, 46<br />
music editors, 46<br />
rerecording mixers, 46<br />
sound designers, 43–44<br />
sound effects editors, 44<br />
supervising sound editors, 43<br />
Sound designers, 43–44<br />
Sound edits, splitting tracks by, 133–134<br />
Sound effects<br />
in documentaries, 300–301<br />
from picture edit, 235<br />
process, 14<br />
temporary, 38–40, 235<br />
Sound effects editors, 44<br />
Sound memory, 99<br />
Sound recording, as noise source, 192–193<br />
Sound reports, 345<br />
for alternate takes, 205–206<br />
need for, 51<br />
for wild sound, 123–126<br />
Sound rolls, 346<br />
for organization, 36<br />
soundBlade editor, 224<br />
SoundDroid editor, 54<br />
SoundMaster controller, 264<br />
Source minimization, for room tone, 142–143<br />
Source time, 346<br />
in EDLs, 61<br />
Sources<br />
for alternate takes, 205<br />
in EDLs, 59, 61<br />
of noise, 188–189
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