Dialogue Editing

More documents

Recommendations

Info

27 Picture: Camera 24 fps No TC Sound: DAT 44.1/48 kHz EBU (25) TC Lab: Process Negative Pullup Telecine: Betacam Film Speed 25 fps, EBU TC (25) Log negative at lab Convert Picture to 24 fps Pulldown picture No audio speed Load change Avid (25 fps) B EDL Edit Picture (Avid) ~24 fps 44.1/48 A Autoconform from Original DATs, 44.1/48 EBU TC Negative Cut at Lab Check sync Dialogue Editing First Answer Print 24 fps Betacam Telecine 24 fps Spot ADR Edit ADR No speed change Spot and Record Log sound on tapes OMF reference 24 fps, EBU TC Wild sound Record ADR Foley Other Editing • SFX • BG • Foley • Music Picture Grading Dolby Mix 1. Premixes 2. Final mix 3. Print master (SVA) 4. M&E mix Final Answer Print 24 fps Develop and Print Optical Track Shoot Optical Track Figure 2-6 Postproduction workfl ow: Shoot fi lm, record sound on tape, post in PAL. Unlike NTSC fi lm postproduction, here the sound never changes speed throughout the process. As with NTSC projects, edited sound can be imported (a) directly from the Avid, or can be reconformed (b) from the original tapes.
Page 2:
Dialogue Editing for Motion Picture
Page 6:
Dialogue Editing for Motion Picture
Page 10:
In memory of Grant Maxwell, 1958-20
Page 14:
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 70: 19 Shoot BetaCam, DV, HDTV, Other 2
Page 74: 21 Picture: Camera 24 fps No TC Sou
Page 78: 23 Picture: Camera 24 fps No TC Sou
Page 82: Working in a PAL Environment 25 cou
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
Page 120: 44 THE SOUND DEPARTMENT subordinate
Page 124: 46 THE SOUND DEPARTMENT props neede
Page 128: 48 GETTING SOUND FROM PICTURE DEPAR
Page 132: 50 GETTING SOUND FROM PICTURE DEPAR
Page 136:
52 GETTING SOUND FROM PICTURE DEPAR
Page 140:
Page 144:
Page 148:
Page 152:
Page 156:
Page 160:
Page 164:
Page 168:
Page 172:
Page 176:
Page 180:
Page 184:
Page 188:
Page 192:
Page 196:
82 BURN-INS, FILE NAMES, AND BACKUP
Page 200:
Page 204:
Page 208:
88 SCREENING THE OMF/POSTCONFORM—
Page 212:
90 SCREENING THE OMF/POSTCONFORM—
Page 216:
92 MANAGING YOUR TIME • What are
Page 220:
94 MANAGING YOUR TIME Table 8-1 Dia
Page 224:
96 MANAGING YOUR TIME Step Time Pro
Page 228:
98 MANAGING YOUR TIME Although it
Page 232:
100 MANAGING YOUR TIME of the fi lm
Page 236:
102 GETTING STARTED ON DIALOGUE EDI
Page 240:
Page 244:
Page 248:
Page 252:
Page 256:
Page 260:
Page 264:
116 Figure 9.6 Markers (top) are ad
Page 268:
Page 272:
Page 276:
Page 280:
Page 284:
Page 288:
Page 292:
130 NOW, THE ACTUAL EDITING Figure
Page 296:
132 NOW, THE ACTUAL EDITING are eng
Page 300:
Page 304:
Page 308:
138 NOW, THE ACTUAL EDITING all sor
Page 312:
140 NOW, THE ACTUAL EDITING of the
Page 316:
Page 320:
144 NOW, THE ACTUAL EDITING Rule Tw
Page 324:
Page 328:
148 NOW, THE ACTUAL EDITING atmosph
Page 332:
150 NOW, THE ACTUAL EDITING created
Page 336:
Page 340:
Page 344:
Page 348:
158 NOW, THE ACTUAL EDITING microph
Page 352:
160 NOW, THE ACTUAL EDITING the two
Page 356:
Page 360:
Page 364:
Page 368:
168 NOW, THE ACTUAL EDITING Still,
Page 372:
170 NOW, THE ACTUAL EDITING laugh,
Page 376:
172 NOW, THE ACTUAL EDITING When yo
Page 380:
174 IMAGE, DEPTH, AND PERSPECTIVE u
Page 384:
176 IMAGE, DEPTH, AND PERSPECTIVE S
Page 388:
178 IMAGE, DEPTH, AND PERSPECTIVE b
Page 392:
180 IMAGE, DEPTH, AND PERSPECTIVE g
Page 396:
182 IMAGE, DEPTH, AND PERSPECTIVE F
Page 400:
184 IMAGE, DEPTH, AND PERSPECTIVE F
Page 404:
This page intentionally left blank
Page 408:
188 DAMAGE REPAIR cases, where nois
Page 412:
190 DAMAGE REPAIR How do you learn
Page 416:
192 DAMAGE REPAIR Crew Remember, th
Page 420:
194 DAMAGE REPAIR noise is almost c
Page 424:
196 DAMAGE REPAIR Figure 12-1 Small
Page 428:
198 DAMAGE REPAIR on an appropriate
Page 432:
200 DAMAGE REPAIR Reducing Clothing
Page 436:
202 DAMAGE REPAIR program material
Page 440:
204 DAMAGE REPAIR It’s useful to
Page 444:
206 DAMAGE REPAIR Table 12-1 Common
Page 448:
208 DAMAGE REPAIR You need to fi x
Page 452:
210 DAMAGE REPAIR editing. Having e
Page 456:
212 DAMAGE REPAIR Find a landmark c
Page 460:
214 DAMAGE REPAIR In extreme cases,
Page 464:
216 DAMAGE REPAIR Cut and paste the
Page 468:
218 DAMAGE REPAIR be careful of the
Page 472:
220 DAMAGE REPAIR Reducing Ambient
Page 476:
222 DAMAGE REPAIR Figure 12-9 Befor
Page 480:
224 DAMAGE REPAIR Figure 12-10 An F
Page 484:
Figure 12-12 A Waves PAZ Frequency
Page 488:
228 DAMAGE REPAIR updated FFTs. The
Page 492:
230 DAMAGE REPAIR Figure 12-16 If y
Page 496:
Page 500:
234 PRODUCTION FX AND GUIDE TRACKS
Page 504:
Page 508:
Page 512:
240 CONFORMATIONS Figure 14-1 Excer
Page 516:
242 CONFORMATIONS editor to create
Page 520:
244 CONFORMATIONS Click on any trac
Page 524:
246 CONFORMATIONS conform your sess
Page 528:
248 ADR Perspective and voice quali
Page 532:
250 ADR Looping Long before digital
Page 536:
252 ADR Preparing for ADR One thing
Page 540:
254 ADR can do to save it. If you c
Page 544:
256 ADR ADR call list)—a list of
Page 548:
258 ADR down and make you cry if yo
Page 552:
260 ADR actor’s lines "Lost in Jo
Page 556:
262 ADR Automating ADR Paperwork If
Page 560:
264 ADR The ADR Recording Session A
Page 564:
266 ADR combination of the two depe
Page 568:
268 ADR This is a good time to ask
Page 572:
270 ADR something, typically room t
Page 576:
272 ADR removed for ADR. Before mov
Page 580:
274 Figure 15-10 When syncing an AD
Page 584:
276 Figure 15-11 An almost perfectl
Page 588:
278 ADR Find the qualifying alterna
Page 592:
280 ADR If a vowel is terminated wi
Page 596:
282 Figure 15-14 Preparing for time
Page 600:
284 ADR of a word) as an alignment
Page 604:
286 Figure 15-15 VocALign compares
Page 608:
288 ADR There’s another reason fo
Page 612:
290 ADR Editing Group Loop Editing
Page 616:
Page 620:
294 EDITING PRODUCTION SOUND FOR DO
Page 624:
Page 628:
Page 632:
Page 636:
Page 640:
304 PREPARING FOR THE MIX sedan or
Page 644:
306 PREPARING FOR THE MIX Table 17-
Page 648:
308 Title: Lost in Jordan Reel: 1 D
Page 652:
310 PREPARING FOR THE MIX and much
Page 656:
312 THE MIX Given its schizophrenic
Page 660:
314 THE MIX You will have several d
Page 664:
316 THE MIX Table 18-1 Dialogue Pre
Page 668:
318 THE MIX If the mixer insists on
Page 672:
320 THE MIX Dolby SR The only survi
Page 676:
Page 680:
324 AFTERWORD scream. But most of t
Page 684:
326 DIALOGUE EDITING IN A NUTSHELL
Page 688:
Page 692:
Page 696:
Page 700:
334 TRACK TEMPLATE FOR A TYPICAL SM
Page 704:
336 GLOSSARY ADR call sheet (ADR cu
Page 708:
338 GLOSSARY Crossfade linking A co
Page 712:
340 GLOSSARY Fundamental frequency
Page 716:
342 GLOSSARY LTC (longitudinal time
Page 720:
344 GLOSSARY along with the locatio
Page 724:
346 GLOSSARY Sound roll The origina
Page 728:
Page 732:
Page 736:
352 INDEX Alternate takes (Cont.) f
Page 740:
354 INDEX Coverage, 337 lined scrip
Page 744:
356 INDEX Foley editors, 46 Foley e
Page 748:
358 INDEX Mix workfl ow (Cont.) pre
Page 752:
360 INDEX Picture editing (Cont.) s
Page 756:
362 INDEX Shoot fi lm, record sound
Page 760:
364 INDEX Terminal sounds, in docum
show all

Dialogue Editing

Create successful ePaper yourself

Delete template?

Save as template?