Dialogue Editing

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29 Telecine: Betacam film speed 25 fps, EBU TC (25) No audio Load Pix to Avid (25 fps) Load All Audio Tracks or Mono Reference 16 or 24 bit Log negative at lab Picture: Camera Lab: Convert Edit Negative First Answer Picture 24 fps Process Picture to Picture Cut Print Grading No TC Negative 24 fps (Avid) at Lab 24 fps, Final Pullup picture Pulldown picture No audio speed change 24 fps 44.1/48 MOS Answer Print 24 fps EDL Check sync Sound: Disk Recorder 44.1/48 kHz EBU (25) TC 24 bit Copy original BWF files to Avid Create metadata database No speed change Text Edit EDL to Include Desired Tracks (use metadata) Copy original 24-bit BWF files to audio editor; no speed change EDL OMF Reference 24 fps Pix, EBU TC Link EDL to Original BWF Files. Audio Still at Native Speed. Dialogue Editing Load and Organize Wild Sound Betacam Telecine 24 fps, MOS 25 fps EBU TC Spot ADR Record ADR Edit ADR Spot and Record Foley Figure 2-7 Postproduction workfl ow: Shoot fi lm, record on hard-disk recorder, post in PAL. Other Editing • SFX • BG • Foley • Music Dolby Mix 1. Premixes 2. Final mix 3. Print master 4. M&E mix Develop and Sync Optical Negative Shoot Optical Negative DAT (SR) or M/O (Digital)
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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
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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 82: Working in a PAL Environment 25 cou
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
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54 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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