Create successful ePaper yourself
Turn your PDF publications into a flip-book with our unique Google optimized e-Paper software.
358 INDEX<br />
Mix workfl ow (Cont.)<br />
premix, forgoing, 317–318<br />
premix goals, 311–312<br />
premix planning, 314–315<br />
premix, recording, 315–317<br />
Mixers<br />
and ambient noise reduction, 220–221<br />
and depth enhancement, 176–177<br />
and noise processing, 229–231<br />
relationships with, 312–314<br />
Momentary background noises, 187<br />
Monitor chain, 101–102<br />
reference tones for, 118–119<br />
Mono dialogue sound, 173–174<br />
Mono regions, unnecessary, 111–114<br />
Montage, 8<br />
Montage Picture Processor, 53–54<br />
Motion picture systems, history, 6<br />
Mouth smacks and clicks, 194<br />
Moviemaking process, 15–17<br />
Moving camera noises, 88<br />
Moviola, 9<br />
Multiband EQs, 224<br />
Multicamera studio recording, 138<br />
Multitrack editing, 156–157<br />
benefi ts, 167–168<br />
boom on track 1, radios on track 2—<br />
similar sound, 161<br />
one mic per channel—dissimilar (and<br />
loud) room tone, 163–166<br />
one shot, two mics, dissimilar room tone,<br />
161–163<br />
one shot, two mics, similar room tone—<br />
dialogue overlaps, 161–162<br />
one shot, two mics, similar room tone—<br />
no dialogue overlaps, 159–161<br />
planning for, 168–169<br />
summary, 167<br />
track selection in, 157–159, 166–167<br />
Music editors, 46<br />
Music, in picture editing, 40<br />
MXF. See Media Exchange Format<br />
Nagra recorders, 9, 11, 13<br />
Names<br />
ADR regions, 287–288<br />
assemblies, 38<br />
fi les, 84–85, 152, 268–269<br />
plans, 327<br />
scene markers, 115<br />
session, 84–85<br />
shots, 132<br />
tracks, 107<br />
Narration<br />
ADR lines for, 248–249<br />
in documentaries, 294–296<br />
Negative cutters, 342<br />
Negative cutting process, 14<br />
overview, 16–17<br />
in picture editing, 34<br />
Negotiating time and fees, 98<br />
Neo-Pilot sync system, 9<br />
Noises, 187–188<br />
alternate takes for. See Alternate takes<br />
ambient. See Ambient noise<br />
evaluating, 190–195<br />
fi nding, 189<br />
fi xing, 195–202<br />
focusing on, 189–190<br />
listening for, 88–90<br />
in multitrack editing, 165<br />
PFX and, 236<br />
processing, 229–231<br />
replacement lines for, 247<br />
and room tone, 149, 155–156<br />
scene design for, 145<br />
in shot balancing, 139–142<br />
smoothness tradeoffs with, 144<br />
sources of, 188–189<br />
Noisy scenes, ADR in, 285, 287<br />
Nonlinear editing, 53<br />
CMX-600 and Montage, 53–54<br />
history, 54–56<br />
Nonlinear video players, 84<br />
NoNOISE suite, 200<br />
NTSC (National Television Standards<br />
Committee) standard, 16–17<br />
defi ned, 342<br />
drop-frame vs. non-drop-frame SMPTE<br />
timecode, 18<br />
high defi nition, 31–32<br />
picture editing. See Picture editing<br />
shoot fi lm, record sound on tape, edit<br />
picture and sound workfl ow, 20–22<br />
shoot fi lm or tape, record sound on hard<br />
disk, edit workfl ow, 22–24
Change language