Dialogue Editing

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26 Shoot BetaCam, DV, HDTV, Other 25 fps Optional Record Sound to DAT/disk 44.1/48 KHz EBU TC (25) Load Picture (lowres) and Sound to Avid Video Edit on Avid Wild sound and alternates Hi-Res Video Online OMF or Autoconform Spot and Record Foley Dialogue Edit Record Narration (documentary) Spot and Record ADR (drama) Check sync Other Editing • ADR • SFX • BG • Narration (documentary) • Foley • Music Premixes (varies) • Dialogue • SFX • BG • Music Final Mix M&E Mix Figure 2-5 Postproduction workfl ow: Shoot single-system PAL, post in PAL. As with single-system production in NTSC, speed remains constant throughout the process. Layback Final Sound to Online Master
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Dialogue Editing for Motion Picture
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Dialogue Editing for Motion Picture
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In memory of Grant Maxwell, 1958-20
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Contents Foreword . . . . . . . . .
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Foreword I really like this book. B
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Preface There are many books about
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Preface xiii bit of another term th
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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
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52 GETTING SOUND FROM PICTURE DEPAR
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82 BURN-INS, FILE NAMES, AND BACKUP
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88 SCREENING THE OMF/POSTCONFORM—
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90 SCREENING THE OMF/POSTCONFORM—
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92 MANAGING YOUR TIME • What are
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94 MANAGING YOUR TIME Table 8-1 Dia
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96 MANAGING YOUR TIME Step Time Pro
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98 MANAGING YOUR TIME Although it
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100 MANAGING YOUR TIME of the fi lm
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102 GETTING STARTED ON DIALOGUE EDI
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116 Figure 9.6 Markers (top) are ad
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130 NOW, THE ACTUAL EDITING Figure
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132 NOW, THE ACTUAL EDITING are eng
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138 NOW, THE ACTUAL EDITING all sor
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140 NOW, THE ACTUAL EDITING of the
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144 NOW, THE ACTUAL EDITING Rule Tw
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148 NOW, THE ACTUAL EDITING atmosph
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150 NOW, THE ACTUAL EDITING created
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158 NOW, THE ACTUAL EDITING microph
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160 NOW, THE ACTUAL EDITING the two
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168 NOW, THE ACTUAL EDITING Still,
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170 NOW, THE ACTUAL EDITING laugh,
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172 NOW, THE ACTUAL EDITING When yo
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174 IMAGE, DEPTH, AND PERSPECTIVE u
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176 IMAGE, DEPTH, AND PERSPECTIVE S
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178 IMAGE, DEPTH, AND PERSPECTIVE b
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180 IMAGE, DEPTH, AND PERSPECTIVE g
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182 IMAGE, DEPTH, AND PERSPECTIVE F
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184 IMAGE, DEPTH, AND PERSPECTIVE F
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188 DAMAGE REPAIR cases, where nois
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190 DAMAGE REPAIR How do you learn
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192 DAMAGE REPAIR Crew Remember, th
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194 DAMAGE REPAIR noise is almost c
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196 DAMAGE REPAIR Figure 12-1 Small
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198 DAMAGE REPAIR on an appropriate
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200 DAMAGE REPAIR Reducing Clothing
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202 DAMAGE REPAIR program material
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204 DAMAGE REPAIR It’s useful to
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206 DAMAGE REPAIR Table 12-1 Common
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208 DAMAGE REPAIR You need to fi x
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210 DAMAGE REPAIR editing. Having e
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212 DAMAGE REPAIR Find a landmark c
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214 DAMAGE REPAIR In extreme cases,
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216 DAMAGE REPAIR Cut and paste the
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218 DAMAGE REPAIR be careful of the
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220 DAMAGE REPAIR Reducing Ambient
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222 DAMAGE REPAIR Figure 12-9 Befor
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224 DAMAGE REPAIR Figure 12-10 An F
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Figure 12-12 A Waves PAZ Frequency
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228 DAMAGE REPAIR updated FFTs. The
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230 DAMAGE REPAIR Figure 12-16 If y
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234 PRODUCTION FX AND GUIDE TRACKS
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240 CONFORMATIONS Figure 14-1 Excer
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242 CONFORMATIONS editor to create
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244 CONFORMATIONS Click on any trac
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246 CONFORMATIONS conform your sess
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248 ADR Perspective and voice quali
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250 ADR Looping Long before digital
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252 ADR Preparing for ADR One thing
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254 ADR can do to save it. If you c
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256 ADR ADR call list)—a list of
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258 ADR down and make you cry if yo
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260 ADR actor’s lines "Lost in Jo
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262 ADR Automating ADR Paperwork If
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264 ADR The ADR Recording Session A
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266 ADR combination of the two depe
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268 ADR This is a good time to ask
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270 ADR something, typically room t
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272 ADR removed for ADR. Before mov
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274 Figure 15-10 When syncing an AD
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276 Figure 15-11 An almost perfectl
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278 ADR Find the qualifying alterna
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280 ADR If a vowel is terminated wi
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282 Figure 15-14 Preparing for time
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284 ADR of a word) as an alignment
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286 Figure 15-15 VocALign compares
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288 ADR There’s another reason fo
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290 ADR Editing Group Loop Editing
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294 EDITING PRODUCTION SOUND FOR DO
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304 PREPARING FOR THE MIX sedan or
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306 PREPARING FOR THE MIX Table 17-
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308 Title: Lost in Jordan Reel: 1 D
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310 PREPARING FOR THE MIX and much
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312 THE MIX Given its schizophrenic
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314 THE MIX You will have several d
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316 THE MIX Table 18-1 Dialogue Pre
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318 THE MIX If the mixer insists on
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320 THE MIX Dolby SR The only survi
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324 AFTERWORD scream. But most of t
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326 DIALOGUE EDITING IN A NUTSHELL
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334 TRACK TEMPLATE FOR A TYPICAL SM
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336 GLOSSARY ADR call sheet (ADR cu
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338 GLOSSARY Crossfade linking A co
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340 GLOSSARY Fundamental frequency
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342 GLOSSARY LTC (longitudinal time
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344 GLOSSARY along with the locatio
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346 GLOSSARY Sound roll The origina
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352 INDEX Alternate takes (Cont.) f
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354 INDEX Coverage, 337 lined scrip
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356 INDEX Foley editors, 46 Foley e
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358 INDEX Mix workfl ow (Cont.) pre
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360 INDEX Picture editing (Cont.) s
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362 INDEX Shoot fi lm, record sound
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364 INDEX Terminal sounds, in docum
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