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