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by John Purcell
Dialogue Editing for Motion Pictures, 2nd Edition
Cover
Half Title
Title Page
Copyright Page
Bound to Create
Dedication
Table of Contents
Preface to the Second Edition
Preface
Acknowledgments
1 What Is Dialogue Editing?
2 The Story of Production Sound
• Introduction
• Success Has Many Fathers
• Early Attempts at Sound in Movies
• Feature-length Talkies
• The Modern Era
3 Film Sound Workflows: Then and Now
• Classic Film Workflows
• Single System Workflows
• Film/Video Hybrid Workflows
• Working in an NTSC Environment
• Working in a PAL Environment
• Digital Cinema
4 On the Set
• The Picture Team
• The Sound Team
• Other Departments at the Shoot
• Sound Equipment
• Syncing Picture and Sound on the Set
• Sound Reports
• Getting What You Need
• Give the Post-Production Team What They Need
5 The Sound Department
6 A Quick Look at Picture Editing
7 Moving the Film from Picture to Sound
• The Picture Cutting Room
• What You Need in Order to Get Started
• A Brief Detour to Understand How Film Became Digital
• Exporting and Importing Sessions Using OMF/AAF
• The Edit Decision List
• Metadata
• Performing the Assembly
• Filenames
• Back Up Your Files
8 Working with Picture
• A Brief History of Editing Sound Locked to Picture
• The Trouble with Digital Picture
• Timecode Burn-Ins
9 The First Screening
10 Setting Up Your Editing Universe
• The Monitor Chain
• Sync Now!
• Preparing Your Editing Workspace
• Eliminating Redundant Regions
• Scenes
• Beeps, Tones, and Leaders
• Wild Sound
11 Editing Dialogue Tracks
• Organizing Tracks
• Scene-to-Scene Splits
• Where to Edit
• Shot Balancing
• Room Tone
• Shot Transitions: Basic Rules of Thumb
• Working With Many Channels of Dialogue
• Making Sense of a Scene
• Production Sound Effects
• Making Guide Tracks
• Editing Dialogue for Television
12 Image, Depth, and Perspective
• Dialogue in the Soundscape
• Depth
• Focusing on One Character in a Group
• Perspective
• Choosing the Crossfade
13 Dialogue Editing Tips and Tricks
14 Dealing with Noise
• What is Noise?
• Transient Noises
• Fixing Transient Noises
• Alternate Takes
• Reducing Ambient Noises
• To Process or Not to Process
15 ADR
• Replacing What Cannot be Fixed
• Looping, ADR, and Postsync
• Preparing for ADR
• Organizing the ADR Process
• The ADR Recording Session
• Preparing Dialogue Tracks for ADR Editing
• ADR Editing
• Group Loop
• Matching ADR to Production Sound
16 Managing Your Time
• Ask the Right Questions
• Set Daily Goals
• Estimate How Long the Editing Will Take
17 Editing Production Sound for Documentaries
• Documentary Sound Challenges
• The Documentary Workspace
• Typical Documentary Problems
• Production Sound Effects
18 When the Picture Changes
• The Reconform Defined
• Automated Reconforms
• Manual Reconforms
19 Preparing for the Mix
• Talk to the Mixer
• Check the Final Picture
• Moving from One Platform to Another
• Dealing With the Details
• Packaging Dialogue Elements
• Close the Cutting Room and Back Up the Project
20 The Dialogue Premix
• Premix Goals
• Planning the Premix
• Mixing Models (A Bit of History)
• The Mechanics of Mixing
• The Final Mix
• Back to the Box
Afterword
Appendix A: Dialogue Editing in a Nutshell
Appendix B: Track Template for a Typical Small Film's Dialogue
Glossary
Bibliography
Index
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Dialogue Editing for
Motion Pictures
Second Edition
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