Index

 

 

A-frame 27, 396

A/B reel 395, 409

3:2 27, 395

AAF Association 75, 80

Acres, Birt 5

Actor noises 225, 228

clothing 230

dental work 228

microphones 230

mouth smacks/clicks 229–30

actor's script 290

ADL (AES31 audio decision list) 83, 360, 395

ADR (automated dialogue replacement) 21, 278, 280–2, 396

automating paperwork 292–4

detailed spotting 284–5

initial spotting 284

matching to production sound 320–2

organizing process 285–94

preparation 282–5

replacing what cannot be fixed 278–80

TV versions of feature film 285

when to record 283–4

ADR call list (ADR cue sheet) 286, 287–9, 300, 396

ADR data-entry page 292–4

ADR editing

breaths 316

choosing takes 305

combining takes 306–8

dialogue tracks 300–3

noise scenes 316

preparing 303–4

tools 309–16

ADR mixer 56

ADR recording log 286–7, 396

ADR recording report 290–1

ADR recording session 294

file names 300

group loop 317–19

improvise 296

matching ADR to production sound 320–2

number of channels 297

preparing dialogue tracks for editing 300–3

recording takes 299–300

Rhythmo band 295

studio technology 294–5

talent, recording engineer, director 297–9

ADR spotting session 284–5, 396

ADR supervisor (ADR editor) 55, 282

ADR/production sound matching 320

convolution reverbs 321–2

distortion 322

dynamics 322

electronics 320

equalizer 320–1

microphone 320

performance 320

pitch 320, 322

reverb 321

synthetic reverb processors 321

Advanced Authoring Format (AAF) 75

see also OMF/AAF

ALE (Avid Log Exchange) file 396

Alexandrov, Grigori 10

alternate takes 242, 396

changing the speed 253–6

check other angles 249–52

check sound reports 247

choose the right parts 250–2

combine parts of several takes 252

dolly noise 260

filenames don't make sense 247–9

finding 243–9

fixing the acting 258

fixing the impossible 260–3

get sync right 252–3

overlaps 257–8

removing shock mount noise 259–60

removing wind distortion 258–9

save original line 253

search by filename 244

search using EDLs 245

syncing alternate line 256–7

ambient noise (noise) 221

complexity 274

reducing 263–75

answer prints 21, 396

assembly (from original recordings) 29, 90–1, 396–7

assembly (picture editing) 61, 73

assistant camera 38

assistant picture editor 64, 65–6

assistant sound editor 54

audio EDL 69

Audio Engineering Society (AES) 74

auto-assembly/autoconform 118–20, 397

Avid Media Composer, TC insert 108–9

Avid Technology and OMF 74, 75

 

B-roll 334, 397

backups 94–5, 363–4

batch digitizing 397

Batman Returns (1992) 14

best boy electrical 39

bin (Avid) 60, 397

biphase 97, 99, 397

blimp 12

boom operator 41

Bouly, Léon 5

broadband noise suppression 264–5, 272–4

broadband processors 267

BWF (broadcast wave format) 360, 397

 

cable person (or sound utility) 42

callouts 318

Cantar 45, 88–9

change notes 343, 397

Avid 344–6

changeover 71, 397

channel mapping 80, 397–8

Chronophone 7–8, 14

Cinématographe 5–6

classic dialogue mix model 370–2

classic film model 17–18

film lab 18, 20

film shoot 18

the mix 22–3

negative cutting 21–2

picture cutting room 20–1

sound effects and ADR 21

classic noise reduction plan 268

broadband 272–4

click/crackle 272

rumble, hum, buzz 268, 271

claw 398

clean edit list 84, 398

CMX-200 73

CMX-600 72–3

CMX 3600 68, 80–3, 245–6, 287, 398

Code Book 21

codec 66, 100, 398

choosing 104–7

color timing (or grading) 21–2, 398

comment field 81, 246, 398

conformation see reconform

container see wrapper

coverage 278, 398

Crosby, Bing 13

Crosland, Alan 11

cross-modulation test (cross-mod) 399

crossfade 210–11, 398

linking 398–9

perspective cuts 211–12

cue sheet (recording log) 399

cut list 399

cutaway 334–5, 399

 

data rate 104–5, 399

DAW (digital audio workstation) 15, 72–5, 98–9, 101–2, 373, 399

DCP see digital cinema package

De Forest, Lee 10

Demeny, Georges 7

depth 200

achieving 200–1

mixer and 201–2

destructive editorial processes 94, 399

dialogue supervisor (dialogue editor) 55

Dickson, W.K.L. 7

digital cinema initiatives 14–15, 17, 33, 35–6, 46, 103, 357, 399

digital cinema package (DCP) 22, 35, 71, 132, 133, 357, 380, 399

digital intermediate (DI) 28, 398, 400

digital picture/audio workstation history 72

AAF/MXF 75

birth of nonlinear workstations for film 72–5

digital video 99–108

director of photography (DP or DoP) 38

documentaries 333

cadence/voice matching 338–40

cutting scenes/narration 336–7

problems 338–41

production sound effects 341–2

sound challenges 333–4

talking heads/voiceovers 337

termination 340–1

track templates 336

workspace 334–8

Dolby 14–15

Dolby Digital 14, 22, 379

Dolby SR 14, 22, 379, 400

Don Juan (1926) 11

double system 23, 400

downconvert 36, 400

drop-frame timecode 30

DTS 14, 22, 380

dual-mono 393, 394, 400

dubber 97, 98, 280, 400

 

edge numbering (or rubbering) 12, 344

Edison, Thomas 4

edit group 118, 353, 400

editing 62

beeps, tones, leaders 129–33

commonsense/luck 186–7

deciding which tracks to use 175–7

description of work 1–2

eliminating redundant regions 125–8

estimate length of time taken 329–32

goals 140

making guide tracks 193–5

making sense of a scene 187–93

managing multiple mics 178–85

monitor chain 116–17

organizing tracks 141–8

overview 390–2

preparation 115, 386–90

relationship with picture department 65–7

responsibilities 1

role in subterfuge of moviemaking 2–3

room tone 161–70

scene-to-scene splits 148–9

scenes 128–9

setting up workspace 119–25

shot balancing 152, 154–61

shot transitions 171–4

syncing 117–19

television 196–7

tips/tricks 213–20

two acceptable tracks 186

use structure of language 150–2

where to edit 149–52

wild sound 133–9

within words 151–2

working with many channels of dialogue 174–87

see also dialogue editing

EDL (edit decision list) 29, 79–80, 400–1

change 344–347

dissecting 80–3

finding correct EDL 245

finding the end of a shot 84

finding the event 246–7

fixing comments with word processor 86–7

getting right names into your clips 85–6

list management software 84–5

metadata 88–90

organizing 84–7

searching 245

Eisenstein, Sergei 10

electricians 39

electronic news gathering (ENG) 23

essence 104, 401

European Broadcasting Union (EBU) 74, 400

exhibition print 401, 406

 

FCM (frame count mode) 82

FCP XML 347

FFOA (first frame of action) 401

editing templates 123

leaders 133

sync pop 132

specification sheet 68

file backup 94–5

file translation programs 359–63

file-linking programs 79

filenames 92–4

ADR 300

no sense in 247–9

searching 244

film lab 18, 20

film projection 133

film shoot 18

film sound 365

film/video hybrid model 17, 24, 26

negative cutting in hybrid world 26–8

negative cutting new way 28

negative cutting old way 28

shoot film (24 fps), record sound on hard disk recorder, edit picture/sound in NTSC 29–30

shoot film (24 fps) or tape, record sound on hard disk recorder, edit in PAL 33

working in NTSC environment 29

filters 116–17, 267

Final Cut Pro 75, 107, 110

final mix 378–9, 401

first answer print 21, 396, 401

first frame of action (FFOA) 132

FLEx (Film Log EDL Exchange) file 27, 401

focus 202–3

focus group 62, 401

focus puller 39

Foley 14, 401

editors 56

supervisor 56

Foley walker/Foley recording engineer 56

framework 103–4, 401

French Academy of Sciences 8

fullcoat 14, 402

fundamental frequency 268, 402

 

gaffer 39

Gaumont, Léon 7–8, 14

genlock 402

group loop 199, 317, 402

ADR/track layout 319

callouts 318

editing 318–19

specific 318

walla 317–18

group of pictures (GOP) 105–7, 402

guide track 193–4, 348, 402

step-by-step 194–5

Guy-Blaché, Alice 8

 

Hallelujah! (1929) 12

handle 76, 158–60, 402

harmonic 236, 241, 260, 262, 267, 268, 402–3

headroom 178, 240, 403

 

I frame (or key frame) 105, 402, 403

imaging, dialogue in the soundscape 198–200

impulsive noises (transient noises) 236–7, 403

impulse response 321–2, 403

interframe compression 105, 403

interpolation processors 267

intonation 309

intraframe compression 105, 403

 

The Jazz Singer (1927) 11, 14

Jurassic Park (1992) 14

 

key frame see I frame

key numbers 21 Kinetoscope 5

Kudelski, Stefan 13

 

Last Action Hero (1993) 14

last frame of action (LFOA) 133, 356, 404

latency 265, 403

Lauste, Eugène Augustin 9, 10

layback 403

LCRS (left, center, right and [mono] surround) 403

leader 132

Academy 133, 404

SMPTE universal 133, 404

liaison 341, 404

linear videotape editing 97–8

lined script 70, 404

lip flap 229, 404

load spacing 404

location mixer (sound mixer, location recordist) 4, 40–1

location recordist see location mixer

locked picture 67, 69, 404

logging bins see bin (Avid)

looping 280

see also ADR (automated dialogue replacement); postsync

Lt/Rt (left total/right total) 404–5

LTC (longitudinal time code) 405, 411

Lumière, Antoine 5

Lumière, Auguste 5–6

Lumière, Louis 5–6

 

M&E (or international) mix 3, 190, 405

mag stripe 13, 405

mains (or utility) frequency 20, 405

Majax 88–9

married print 405, 408–9

media exchange format (MXF) 75

media wrapper 75, 405

Méliès, Georges 6, 12

metadata 88–90, 104, 405

microphones 42–4

actors and 230

noting on ADR data-entry page 292

managing multiple mics 178–85

pickup patterns 42

 

mix (or dub) 22–3, 355

check final picture 357–9

close cutting room/back up project 363–4

final 378–81

get ready 356–7

getting the most out of 368–9

moving from one platform to another 359–63

packaging dialogue elements 363

television/airplane versions 380–1

virtual 372

mixers 4, 40–1,

ADR 56

Rerecording 57, 201–2, 222, 367–9

mixing console 373

monitor chain 116

filters 116–17

Montage Picture Processor 73

Moviola 12, 97

music 62–3

editor 57

temp music 61

 

narration 336–7, 399, 411

native workstations 131

negative cutter 21, 405, 410

negative cutting 21–2

hybrid world 26–8

new way 28

old way 28

noise

alternate takes 242–63

ambient 221, 263–75

control 374–5

description of 222–4

editing ADR in noisy scene 316

evaluating 224

finding 223

processing 275–7

transient 221, 225–41

noise sources 51

air conditioners 51

generators 52

hum 51

outside noise 52

refrigerators, freezers etc 51

set noise 52

noise reduction 263–4

broadband noise suppression 264–7

plan 268–74

tools 267

nonlinear digital audio workstations 98–9

nonlinear editing 72–5

nonlinear picture editors (NLE) 15

NTSC (National Television Standards Committee) 26, 29, 35–6, 133, 406

nudge value 406

 

off-microphone 41, 406

offline edits 62

OMF/AAF 69, 119

exporting/importing sessions 76–7

opening 78–9

OMFI (Open Media Framework Interchange) format 29, 74–5, 120–1, 406

one light transfer 406

optical camera, optical recorder 379, 406

optical soundtrack 12, 399, 400, 405, 406

output tape 405, 407

overlap 180–1, 257–8, 407

 

PAL (phase alternating line) 27–8, 29, 33, 36, 133, 407

panning 199

pencil tool 234–6

perforations 96, 407

perspective 203–4, 203–10

emotional separation 204

making it work 206–7

perspective cut 211–12, 407

physical distance 204–5

social isolation 205–6

telephone split 208–10

 

PFX (production sound effects) 190, 407

documentaries 341–2

matching ADR 320–2

noisy 193

splitting tracks 190–1

temporary effects from picture edit 192

using room tone for flexibility 191–2

Phenakistoscope 4

phone split 208–10, 407

Phonograph 7

Phonoscènes 7–8

pickup pattern 42

picture changes (reconfomrs)343

automated reconforms 348–50

manual reconforms 350–4

reconform defined 343–8

picture cutting room 20–1, 65

comments on screening 66–7

dialogue editor relationship with picture department 65–7

etiquette 66

picture editing 64, 153–4

absolute essentials 67–70

background 58

finishing the picture/packaging the sound 63

first assembly 61

ingest 59–60

organize material 60

organizing tracks 145–6

screenings, recuts, completion, music 62–3

sound enters the picture 61–2

spec sheet example 68

splitting reels 70–1

temporary sound effects 192

workflow 59–63

picture, working with

bottom line 107–8

containers/codecs 103–7

getting system ready for digital video 100–3

history of editing sound locked to picture 96–9

problems 99–108

syncing sound 96

timecode burn-ins 108–10

picture start 132

picture team 38

camera department 38–9

electrical department 39

grip department 39

pilot tone 18, 407

plop (sync pop, beep) 132–3, 408

point of view (POV) 203, 408

postsync 281–2

premix (predub) 22, 365–6, 392, 408

back to the box 382–3

dangers of detail 377–8

development of mixing models 369–73

dynamics 375–6

final mix 378–81

forgoing dialogue premix 376

getting approval 378

goals 366–9

mechanics of mixing 373–8

mixing out of sequence 369

noise control 374–5

planning 369

scene flow/shot matching 374

scene shaping 375

templates 376–7

preroll 151, 408

principal (actors) 280, 317, 408

print master 22, 408

production sound effects see PFX (production sound effects)

Pudovkin, Vsevelod 10

pulldown 24, 26, 29, 33, 395, 408

pullup 24, 29, 356, 397, 408

 

QuickTime 63, 75, 102, 107

 

Reconform 343–354

adding new material 353–4

automated 348–50

change lists 344–7

changing the order 353

defined 343–8

manual 350–4

opening up a track 352–3

removing material 352

try simplest path 354

VFX 350

recorders 44

recording engineer 298–9

recuts 62–3

reducing ambient noise 263–4

broadband 264–5

classic plan 268–73

complexity 274

getting answers from supervising sound editor/mixer 265

knowing when to stop 275

preparing 265–7

tools 267

reel 124–5

editing 408–9

exhibition 409

reference (or alignment) tones 130

making 130–1

using for daily alignment 131

rerecording mixer 57

resolver 20, 409

reverb 321

convolution 321–2

synthetic processors 321

Rhythmo band 295

ripple mode (shuffle mode) 121–2, 164, 409

room tone 161–2, 191–2, 409

copying less than you need 169–70

creating 163–7

dealing with changes in pitch/volume 167–8

finding 162–3

loud 184–5

matching with dialogue 168–9

play one source at a time 175–7

removing noises in dialogue 169

dissimilar sound 181–5

tips/tricks 215

transient noise 230–3

using all takes 167

versus backgrounds/atmospheres 162

rubbering see edge numbering

 

scenes 128–9

by shot 143–4

cutting 336–7

editing ADR in noisy scene 316

flow 374

making sense of 187–9

organizing 142

rules 142

scene-to-scene splits 148–9

shaping 375

screenings 62–3, 111

evaluation form example 114

listening 113

making comments 66–7

spotting session basics 111–12

scrubbing 169, 409

SDDS (Sony Dynamic Digital Sound) 14, 22, 380

session conversion programs 362–3

set noise 225

actors 225

crew 226, 227

dollies 226

electronics 226

feet 227

sound recording issues 227

shoot (on the set) 37–8

assorted departments 42

give post-production team what they need 50–2

listen before camera rolls 51

picture team 38–9

plan ahead 47, 49

respect the crew 50

sound equipment 42–5

sound reports 47

sound team 39–42

syncing picture/sound 45–6

shot (also setup or slate) 409

balancing 152–61

clip information 78–9, 85–94

common abbreviations 248

finding alternate take 243–52

finding the end 84

multiple mics 178–85

organizing within scenes 141–8

picture editing 61

transitions: rules of thumb 171–4

shot matching 374

shot transitions 171

design scenes that require least amount of processing 173–4

evenness as trade-off between noise/smoothness 172–3

play one source of room tone at a time 171–2

shuffle mode 164

silent film 10

single system 23–4, 409

Society of the Motion Picture and Television Engineers (SMPTE) 74, 133, 409

sound

department 53–7

designer 54

effects editor 55

sound equipment 42

microphones 42–4

recorders 44

“Sound and Image” manifesto (1928) 10

sound mixer see location mixer

sound production history

amplification 9–10

continual change 15

distribution formats 14

early synchronization 7–10

feature-length talkies 11–13

historical background 5–6

modern era 13–15

optical recording 9–10, 12

postsynchronization 12

sound recording issues 227

clothing rustle 228

dropouts 228

longer electrical clicks 228

shock mount noise 228

small short clicks 228

wind distortion 228

sound report 47, 48, 49, 69–70, 134, 409

common abbreviations 137

example 135–6

sound roll 20, 28, 249, 410

sound team 39

boom operator 41

cable person (or sound utility) 42

location mixer (or sound mixer) 40–1

specification sheet

audio/video EDLs 69

example 68

locked picture 67, 69

OMF/AAF to match final picture 69

speed/length changes 309–12

splitting reels 70–1

spot 117, 223, 275, 391, 410

sprocket 97, 410

Star Wars 14

stem 379, 380, 381, 410

streamer 281, 410

studio technology for ADR recording 294–5

supersessions 71, 124–5

supervising sound editor 53–4, 265

SVA (stereo variable area) see Lt/Rt

sync pop see plop

syncing 96, 117

alternate line 256–7

bottom line 107–8

brief history 96–9

compromises 216

containers/codecs 103–7

digital video 100–3

getting it right 252–3

know what you’re syncing to 118–19

problems 99–108

resyncing 118, 358–9

timecode burn-ins 108–10

 

talent 297–8

talking heads 175, 334, 337, 397, 410

telecine 26, 410

telecine log 396, 403, 410

television

ADR for versions of feature film 285

editing dialogue 196–7, 380–1

sound 365

temp mix (temp dub) 62, 65, 92, 189, 410

temp music 61, 411

temp SFX 61–2

templates 123–4, 376–7, 393–4

time expansion/compression tools 254–5

time management

ask right questions 323, 325

estimate length of editing 329–32

expect changes 332

negotiate 330–1

out of sequence working 331–2

schedules 326–9

set daily goals 325–9

timesheet 324

timebases 24

timecode 30, 62, 63, 74, 119

development 98–9

timecode burn-ins (TC burn-ins) 108

Avid Media Composer 108–9

Final Cut Pro 110

tips and tricks 213

ask what works 214

be clean 217

be nimble 220

complete the action 214

don’t forget what you’re reconforming 218

forward/backward 216

get sync sound 214

get your ducks in a row 217

know who you’re working with 218

listen 213

remember where the story is 219

save the line 217

sleight of hand 215

stick to basics 215

story over all else 220

syncing compromises 216

think in parallel 218

think simple 219

train your ears/eyes 219

transient noise 230–3

when there’s no room tome 215

top and tail 305, 411

tracks

additional splits 146

ADR track layout 319

choosing 186

inserts 146–7

labeling 121

multitracks 148

opening up reconform 352–3

organizing 141–3

preparing for ADR editing 300–3

scene organization by shot 143–5

sound edits/picture edits 145–6

work/junk 121–3

transcode 411

transient noise 221, 236–7 (impulsive noise)

actors 228–30

body mic crackle 236–8

clothing rustle 236–8

declipping software 238

dolly noise 241

fixing 230–41

mitigating distortion with de-click/de-crackle 239–41

reducing clothing rustle 236–8

removing short clicks with pencil tool 234–6

repairing distortion 238

room tone fill 230–3

on the set 225–7

 

VFX (visual effects) 350

video EDL 69

video file format 66

video recording 72–3, 97–8

Vidor, King 12

virtual mixing 372

Virtual VTR 103

Vitaphone 8–9, 11

VITC (Vertical Interval Timecode) 402, 411

voiceover 337, 399, 411

vox pop 339, 411

 

Walla 317

Warner Brothers 8, 11

Western Electric 8

wild sound 69, 133–4, 411

finding 134, 136

using log 137–9

word-fitting tools 255–6, 312–16

work track 121–3, 411

workflows

analogue project diagram 19

audio example for TV drama 34

background 16–17

classic film 17–23

creating 73–5

digital cinema 33–6

film/video hybrid 24–33

picture editing 59–63

postproduction diagrams 31, 32

single-system 23–4

workprint 12

wrapper (or container) 100, 104, 412

 

X (X, Y, Z and more) tracks 303, 412

XLM-Pro 79

 

zeppelin 258, 412

Zoetrope 4