There are many outstanding film sound glossaries. David Yewdall’s Practical Art of Motion Picture Sound, Third Edition (2007), contains a glossary with concise, no-nonsense definitions useful to sound editors and designers. Another, Larry Blake’s “What’s a Binky?”—a legendary collection of film sound terminology—was originally published in Mix Magazine; it is now available on a number of web sites. This is one of the most comprehensive film sound dictionaries ever compiled and offers a refreshing glance of what things are really called in the working world. For a massive glossary of film editorial terminology, see Norman Hollyn’s The Film Editing Room Handbook; for a narrative-treatment glossary with a historical bent, turn to Film Sound: Theory and Practice edited by Elisabeth Weis and John Belton.
This glossary isn’t as comprehensive as those just mentioned. Instead, it focuses on terms specifically applicable to dialogue editing and other concepts that affect those who edit dialogue. Some terms fall into the realm of picture cutting or mixing, but they’re nonetheless part of the basic vocabulary of dialogue editors.
A/B reel A reel of film not longer than 2050 feet (about 22 minutes). When movies were edited on film and mag, picture and sound editors worked in reels no longer than 1000 feet. After the premixes, these reels were joined to form 2000-ft lengths. Today, most sound editors work directly in 2000-ft lengths, since the inconvenience of large film units on a flatbed or upright editor is no longer an issue.
ADL (AES31 audio decision list) The ADL is a file format for exchanging information between different types of workstations, both sound and picture. Its format offers far greater detail and accuracy than the conventional CMX edit decision list, which it’s gradually replacing. See EDL.
ADR (automated dialogue replacement or automatic dialogue replacement, depending whom you listen to) An electronic means of rerecording dialogue lines that combines machine control, monitor switching, and cues for talent and naming. The term ADR is often used interchangeably with postsync and looping, although there are mechanical and procedural differences between the three.
ADR call sheet (ADR cue sheet) A detailed list of the lines that need to be rerecorded in a studio to repair damaged lines or add new information.
ADR recording log A log of recording of an ADR cue that contains information about each take, including whether it’s the “buy” (the one chosen), as well as instructions to the ADR editor. Also referred to as a “session report.”
ADR spotting session A screening of a film to determine which dialogue lines will be rerecorded. After the screening, the ADR supervisor makes detailed, standardized notes concerning each ADR cue.
A-frame The first of five frames in a complete cycle of the 3:2 pulldown. During a telecine transfer from 24 fps film to NTSC videotape, certain film frames are repeated to maintain correct speed. Knowing which is the A frame is vital when establishing a direct relationship between film frames and video frames—something you must know when cutting negative.
ALE (Avid Log Exchange) file A type of telecine log used to manage film negative information and ensure a solid relationship between film negative frames and video frames. Similar to a FLEx file.
Alternate take Any take of a shot (setup) other than the one chosen by the director and picture editor. Alternate takes are valuable sources of replacement dialogue and room tone, which is why dialogue editors spend so much time going through them.
Answer prints These are the first prints to emerge from the lab after negative cutting and before mass duplication. The answer prints are used to correct the final look of the film and to ensure that no mistakes were made during negative cutting. The first answer print provides the dialogue editor with the first real chance to see what the film looks like and to solve lingering sync problems.
Assembly In the picture editing process, the first meaningful stringing together of selected takes in script order. Often very long, the assembly allows the picture editor and director to understand the material and to begin a meaningful rough cut.
Auto-assembly/autoconform The reconstruction of all audio events within the picture edit, using the EDLs, original tapes or files, and software to control the process. An auto-assembly recreates the picture editor’s work with original sounds, in contrast to an OMF, which uses Avid or FCP soundfiles. Also called PostConform (a trademark of Digidesign).
Batch digitizing The picture workstation equivalent of an auto-assembly. Most commonly, batch digitizing takes place at the end of the picture editing process to create a high-resolution version of the final picture cut.
Bin (Avid) A folder in which files are stored in the Avid workstation. A dialogue editor without access to original recordings can convert the Avid or FCP bins to DAW sessions (viaOMF) to make alternate takes and wild sound available.
B-roll In news-style documentaries, the supporting or illustrative footage. Contrast this with interview or talking head footage.
BWF (broadcast wave format) An improvement on the wave (.wav) soundfile format. In addition to audio information, a BWF file can carry shot descriptions, technical logs, and timecode.
Change notes Information provided by the picture department to describe changes made to the film after picture lock. The audio tracks must be conformed to match these changes. Change notes can be handwritten or automatically generated by the picture workstation.
Changeover On a multireel film, the switch from one projector to the other during a reel change. Nowadays, few films are projected on two projectors, but rather are spliced into one continuous string and stored on a horizontal platter. Nonetheless, due to the displacement between the projector gate and the sound head, care must be taken when preparing print masters. Approximately the first 20 frames of a subsequent reel must be copied to the tail of each reel. This extension is called a pullup or a “changeover tail.”
Channel mapping An audio-routing matrix used when performing an auto-assembly (PostConform or autoconform). The audio channel relationship between an event’s description in the EDL, the source material, and the target channel can be set while preparing for an auto-assembly. This is particularly valuable when loading sounds from a 2-channel medium into a multichannel session.
Clean edit list Required for auto-assemblies, an EDL free of illegal events, unnecessary information, non-Latin fonts, and legacies from previous edits. Today, this is rarely an issue, since nonlinear picture editing machines automatically generate a clean list.
CMX Initially the result of a partnership between CBS and Memorex, it was the pioneer in machine controllers for online editing. The CMX3600 edit decision list, which describes and stores editing information, is still the standard means of communicating event information between picture and sound departments. See EDL.
Color timing The adjustment of a film’s colors and brightness in the lab, which usually occurs while the sound department is editing. Also called “grading.”
Comment A line or lines of information beneath the event line on a CMX edit decision list that can be used to insert scene/take data into the region names in the dialogue editor’s session.
Conformation Any change made to a reel after picture lock. Sometimes unavoidable yet loathed by the sound department.
Coverage The manner of shooting a scene to provide sufficient material to work with. A scene that lacks the takes/angles needed to piece together a decent assembly is wanting of coverage.
Crossfade A transition in which one sound element fades out as another fades in. In dialogue editing, a crossfade should usually be “level neutral” so that there is neither an increase nor a decrease in level over the course of the transition.
Crossfade linking A control within the fade parameters of a digital audio workstation (DAW) that links the characteristics of the two sides of a crossfade: the fade-out and fade-in. Under normal circumstances, crossfade linking ensures fade symmetry. Care must be taken to select a mid-fade attenuation of −3 dB when crossfading “normal” (not phase-coherent) material, and −6 dB when crossfading a sound against itself, as in perspective cuts.
Cross-modulation test (cross-mod) A series of exposure, processing, and printing tests used to ensure the best results when preparing an optical soundtrack. The tests calibrate the film stock and equipment at the sound facility that shoots and develops the optical negative with those of the film lab that prints the answer print.
Cue sheet (rerecording log) A tabular chart showing the layout and contents of the tracks brought to a mix.
Cutaway A picture editing technique in which a shot is briefly interrupted by another, usually to hide a piece of main shot, to adjust timing, or to change from one take to another. Cutaways are commonly used in documentaries to hide sound edits within an interview.
Cut list Similar to an EDL, a list that contains all of the information needed for the negative cutter to conform the film’s original negative to the final locked edit. In the modern world, the cut list is generated more or less automatically by the picture workstation. In the days of sprockets, this list was prepared by hand.
DAW (digital audio workstation) A nonlinear electronic editing platform used for music and audio postproduction editing.
Destructive editorial processes Any electronic sound editing process that alters or destroys an original sound file. Examples include any recording in which old takes are overwritten, and certain noise reduction processes that permanently alter the soundfile.
DigiTranslator (a trademark of Digidesign) A utility for converting OMFI 2.0 files into Pro Tools sessions. No longer offered as a standalone utility, DigiTranslator is now packaged within the Pro Tools application.
Dolby SR (a trademark of Dolby Laboratories) (1) A noise reduction system, introduced in 1986, offering much better performance than its predecessor, Dolby A. (2) The standard analogue format (Dolby Stereo) on film release prints, providing left, center, right, and mono surround channels encoded into a 2-channel analogue optical soundtrack. (3) Dolby SR-D (or Dolby Digital), introduced in 1992 as a 5.1-channel digital format whose data are stored between the sprockets of 35 mm prints. Dolby Digital uses AC3 coding for data compression.
Double system (1) A type of film projection in which image and sound are on separate media. Interlocking a mute answer print with a soundtrack on a DA-88 or workstation is an example. (2) A location recording technique, such as shooting film or tape and recording sound to a DAT or hard disk recorder. Contrast this with recording sound directly onto videotape, an example of single-system production.
Dual-mono Two parallel audio channels containing exactly the same information. Compare with stereo or split-track recordings, where the two channels contain different information.
Dubber A playback-only mag machine used to reproduce sprocketed sound elements during a mix.
EBU (European Broadcasting Union) A standards organization (and more) for European radio and television. “EBU timecode” refers to the 25 fps timecode used in PAL (phase alternate line) and SECAM (séquentiel couleur à mémoire) countries.
Edit group A function in digital audio workstations (DAWs) that allows you to link a number of tracks so that they behave as a group. Mono, solo, and editing commands on any track within the group will affect all of them.
EDL (edit decision list) A list generated by nonlinear film workstations and offline video editing systems that describes each event in an edited film reel, TV program, and so on. The information it contains includes the source of each shot and its location within the program and possibly an identification of scenes and takes. EDLs are vital tools for dialogue editors looking for alternate takes of a line.
Exhibition print The mass-produced prints of a film shipped to theaters for public viewing, comprised of reels of approximately 2000 feet (about 600 meters) in length.
FFOA (first frame of action) The first frame of meaningful picture of a reel of edited film. In other words, the first frame past the head leader.
Final mix The ultimate combining of a film’s sound elements. Typically, the mixing process begins with the dialogue premix, followed by other premixes if deemed necessary and the budget allows. The final mix uses the premixes as playback sources, along with remaining unmixed sound elements, to create a finished soundtrack.
First answer print The first print made of a film after negative cutting. In most cases, this print is mute. In some film cultures, this silent first answer print is called a “blacktrack answer print.”
FLEx (Film Log EDL Exchange) file Developed by da Vinci Systems, a file protocol for transferring film-related information to and from videotape and nonlinear editing systems. With FLEx (or Avid’s ALE) files, data on film negative, telecine transfer, audio, and the like (all forms of metadata) can be stored for later use in negative cutting, retransfer, and sound finishing.
Focus group A “man on the street” public audience assembled to watch and comment on an unfinished film. The focus group is becoming increasingly important in determining the direction, if not the fate, of a film.
Foley “Live” sound effects recorded sync-to-picture and later edited for finesse. Foley effects commonly include footsteps, clothing rustle, and chair squeaks, but may include mechanical sounds, door squeaks, and unrealistic sounds.
Fullcoat This is 35 mm magnetic film that’s completely covered with oxide on one side. Depending on the head stack used, you can record up to six channels onto one fullcoat.
Fundamental frequency The lowest frequency in a harmonic series and almost always the lowest frequency present in the pitch of a note made by a musical instrument. Also called “first harmonic.”
Genlock A system allowing vertical, horizontal, frame, and color synchronization of two or more video devices such as cameras. In audio applications, the most common genlock reference is black burst, which synchronizes all digital audio devices in a chain to each other and to the video devices within the facility. Genlock provides speed and timing information so that multiple machines play at the same speed and their frames begin at exactly the same time. This provides synchronization accuracy of much less than a frame (when combined with another synchronization protocol such as MTC, LTC, VITC, or Sony 9-pin).
Group loop The recording of extra, nonprincipal voices during postproduction to add mood and texture to a scene, to enhance the plot, or to provide other information.
Guide track (1) A field recording under impossible circumstances with less than ideal results. Knowing that the track is needed for reference but useless for sound, the location mixer labels the track “Guide track.” (2) A temporary mono (or wider) mix provided by one sound editing department to another as an editing aid. A dialogue editor will periodically provide a mono guide track of his or her progress to the SFX and BG editors so that they can make better judgments than when working against the unedited OMF.
Handle Extra sound material extending beyond the visible (and audible) boundaries of a region. Handle duration can be determined during OMF creation or auto-assembly. As a rule, dialogue editors want handles to be as long as possible. See load spacing.
Harmonic An integer multiple of a fundamental frequency. For example, a string vibrating at a fundamental frequency of 100 Hz will have a harmonic at 100 Hz intervals. The harmonic structure of a musical note is what gives it its color. The harmonic nature of buzzes and hums is what makes them so hard to clean.
Headroom (1) The area in a shot between the top of the frame and the subject. Shots with a great deal of headroom are often difficult to mic with a boom. (2) The available dynamic range between the reference signal level and distortion or digital zero.
Keykode (a trademark of Eastman Kodak) A machine-readable barcode printed onto a film negative during its manufacture that provides an automatic method to capture key number information during telecine transfer. This information is stored in telecine logs, such as FLEx or ALE files, and is vital in negative cutting. The term “keycode” is used sometimes when referring generally to machine-readable code on film.
Latency The delay imposed on an audio signal by a processor. It can become significant when using a series of plug-ins during a mix.
Layback The last step in a videotape-based project for which the final mixed audio is recorded onto the online, color-corrected master tape to replace the old offline tracks. After the layback comes the party.
LCRS (left, center, right, and [mono] surround) The four decoded channels of Dolby SR.
Leader, Academy A leader placed at the head of and tail of each reel. From the start mark on the head leader to FFOA is 12 feet, and there’s a countdown ending 3 feet from FFOA. Each countdown number represents 1 foot (16 frames), and the final “beep” frame reads “3,” meaning 3 feet.
Leader, SMPTE Universal Similar to the Academy leader: From the start mark on the head leader to FFOA is 12 feet, and there’s a countdown ending 3 feet from FFOA. Each countdown number represents 1 second (24 frames) and the final “beep” frame reads “2,” meaning 2 seconds. Remember, 2 seconds equals 3 feet at 24 fps.
LFOA (last frame of action) The last frame of picture before cutting to the tail leader. When you’re working on videotape or with a nonlinear editing system, LFOA is measured while looking at the first frame of leader rather than at the last frame of picture because a video EDL “out” is the same number as the next “in.”
Liaison The fusion of sounds across word boundaries, making it difficult to perform clean dialogue edits. (More accurately called sandhi.)
Lip flap Any movement of the lips not supported by sound. It could be the result of the picture editor using a shot without sound or an actor miming speech during a shot. Lip flap can also be completely natural in its origin—maybe an actor moved his lips and no sound came out. Whatever its source, this inconsistency is usually disconcerting in films, so dialogue editors often add appropriate “lip fill” to cover the flap.
Lined script The shooting script of a film on which the script supervisor has indicated the coverage of each scene. Setups and actions/events during the shoot are indicated as vertical lines drawn over the text, hence the name.
Load spacing During auto-assembly of original sound, the term refers to the minimum separation between two sources before the two events are loaded as a single soundfile. When two source events in an EDL are closer than the load spacing setting (including handles), they are digitized as a single file on disk because (1) it’s faster and (2) it causes less wear on the load deck because the machine doesn’t have to stop, rewind, and cue up again. See handle.
Locked picture A finished, final, “ain’t gonna change” picture edit. Just kidding.
Lt/Rt (left total/right total) An encoded 2-channel track that contains four channels of film channel information (LCRS). When the mixer completes the final surround mix for a film to be distributed in Dolby SR, he processes the film through a Dolby DS4 processor (usually in the presence of a Dolby consultant). The result is a 2-channel print master ready to be converted into an optical soundtrack. In Europe, this 2-track encoding is called SVA (stereo variable area). See also LCRS.
LTC (longitudinal time code) Timecode stored as an audio signal on videotape or audiotape; often not reliable at nonplay speeds.
Mag stripe This is 35 mm magnetic film with only a narrow strip of oxide and a smaller balance stripe. When a film is edited mechanically, analogue field recordings are transferred to mag stripe, synced, and coded for editing.
Mains (or utility) frequency The frequency at which alternating current electrical power is transmitted from the power plant to the end user. In most parts of the world, it’s 50 Hz; in the Americas, it’s usually 60 Hz. Used often in analogue recording and postproduction as a convenient means of maintaining proper speed and of interlocking several machines. As digital recording and playback devices supplant analogue machines, mains frequency, as a synchronization tool, is generally being replaced by video reference or word clock.
Married print A film print that contains both picture and optical sound.
M&E (or international) mix A mix used for foreign language dubbing of a film. It contains all of the sound contents of the original mix except for the language elements of the dialogue. When a film is sold to a foreign distributor, usually all that will be required to create a localized mix from the M&E is the addition of local voices.
Media wrapper A file carrier that standardizes how different devices obtain the information they need from a file to facilitate the interchange of audiovisual material, data, and metadata.
Metadata Simply put: data about data. In audio postprodcution, it describes the contents of an audio file, such as timecode, scene/take, sample rate/bit depth, and the like, which can squeeze into the metadata area of a file.
Negative cutter The individual in the lab who conforms the camera original film to match the picture editor’s edits. The negative cutter uses the cut list to locate and assemble the correct sections of negative. A copy of the digital dump (output tape) is used as a reference.
NTSC (National Television Standards Committee) (1) The color television standard for North America and a smattering of other places. (2) The standards body that long ago set the NTSC standard—525 interlaced vertical scan lines at a frequency of 59.94 Hz results in 29.97 frames per second (fps)—which is occasionally lovingly referred to as “Never Twice the Same Color.”
Nudge value A user-definable value in any DAW that allows the editor to offset a region or a selection by a fixed amount.
OMF See OMFI.
OMFI (Open Media Framework Interchange) format A translation language that allows material to move (relatively) easily from one platform to another. In dialogue applications, the OMFI allows complete access to sounds for films edited on a variety of nonlinear picture workstations. Usually shortened to “OMF.”
One light transfer A quick telecine transfer from original negative film to videotape. Normally, processed original camera film is developed and then transferred to videotape prior to digitization into a nonlinear picture editing workstation. When shot-specific color correction is needed, a timed or graded transfer is necessary.
Optical camera, optical recorder A recording device for converting sound from a final mix (whether on DAT, mag, hard disk, or in another format) to an optical negative track. An optical camera works much the same as an analogue tape recorder, converting an electrical signal into a print analogous to the sound wave. Unlike a tape recorder, which stores information as a magnetic “snapshot,” an optical camera stores the sound information as visible lines of varying density and width.
Optical soundtrack The soundtrack on a finished film exhibition print. When passed through a projector’s optical reader, the soundtrack’s squiggly lines alter the voltage generated by a photo cell. This voltage is then amplified and decoded to play as sound. Prints with digital soundtracks carry digital information as well as analogue tracks. The digital information is stored in the form of small dots—a high-density type of barcode. Both digital and analogue soundtrack information is printed with the picture to reduce costs.
Output tape (or digital dump) The video output of a nonlinear picture workstation recorded to videotape, which becomes the work picture tape the sound crew will use when editing the film’s soundtrack. Once the negative has been cut, printed, and transferred to videotape, the output will be replaced with the much more attractive first answer print telecine tape.
Overlap In dialogue editing, an interruption by an off-mic character of an on-mic speaker, which inevitably ruins part of the take.
PAL (phase alternating line) A color video system used throughout much of the world that consists of 625 lines per frame, interlaced. In the PAL environment, the frame rate is 25 fps and EBU timecode is used for production and postprodcution.
Perspective cut Organizing dialogue tracks in a manner that allows easy manipulation of the sound at a picture cut. Often used to enhance physical or psychological separation between characters, to focus on a specific element of a shot, or to enable two simultaneous conversations, as in a phone split.
PFX (production sound effects) Tracks within a dialogue session that contain nonverbal events removed from dialogue tracks. PFX may be split off from the dialogue for better control or manipulation, or to facilitate creation of an M&E mix.
Phone split A type of perspective editing that allows for easy control of both sides of a telephone conversation.
Pilot tone A very stable tone used to keep a sound recording device in sync with a camera. Synchronous analogue recording devices, such as the Nagra series of field recorders, need a means of ensuring that original recordings are played back at precisely the same speed at which they were recorded. On mono Nagras, this is accomplished by recording a 50 Hz (60 Hz in the Americas) sine wave along with the location audio. The pilot tone is generated by a crystal within the recorder. When the location tapes are played back for transfer to mag or another working format, a resolver compares the pilot tone recorded on the tape with a reference and slews the tape to match the recording speed to ensure accurate sound sync. The original Nagra pilot tone was replaced with Neopilot tone, which consists of two out-of-phase sine waves. On later Stereo Nagras, a high-frequency FM pilot signal is used. Timecode Nagras are resolved with EBU or SMPTE timecode.
Plop (sync pop, beep) A 1-frame-long tone used to synchronize soundtrack with picture. Temporary plops can be used anywhere within a reel for temporary sync references, but the final plops are placed 2 seconds before FFOA (9 feet after the start mark) and 2 seconds after LFOA.
Point of view (POV) A shot from the perspective of one of the characters, as though the audience is seeing the scene as he does. A POV shot is more subjective than the normal coverage of a scene’s shots and thus may receive special sound treatment.
PostConform (a trademark of Digidesign) An application for auto-assembly (autoconform) that uses edit information from the picture editor’s EDLs to automatically extract and conform sounds from original field recordings. The result is a Pro Tools session containing the picture edits recreated with original sound material. Currently, it is supported only in Mac OS 9.
Premix (predub) A mix (dub) preceding the final mix in which like elements (usually elements from an entire department: dialogue, SFX, BG, or Foley, etc.) are mixed and organized to facilitate a more efficient final mix.
Preroll (1) In linear video editing, the amount of time programmed to allow all video machines to properly synchronize before the edit point. (2) In sound editing and mixing, preroll usually refers to how much program you want to hear before the sound you’re focusing on.
Principal (actors) The core ensemble of actors through whom the film’s story is told. Other actors may play secondary roles or serve as extras.
Print master A finished mix encoded into a distribution sound format used to create an optical soundtrack.
Pulldown (1) In the transfer from film to NTSC video, the process that slows the film chain by 0.1 percent to accommodate NTSC’s 29.97 noninteger frame rate. (2) Material added before the FFOA of mixed reels to facilitate joining of reels for platter projection. The final 24 frames (usually) of the previous reel are copied to the head of a reel. This practice is not common.
Pullup (1) The speeding up of the film chain by 0.1 percent when transferring from NTSC video rate to “full” film rate. (2) Material added after the LFOA of mixed reels to compensate for the offset between a projector’s gate and sound reader when reels are joined. The minimum pullup is 20 frames, which are copied from the head of the next reel and added to the tail of the current reel. To properly add pullups, you must know FFOA and LFOA for each reel.
Reconform The manual assembling of original sound or video elements to match an offline edit. Compare this to an auto-assembly, which is largely an automatic process.
Reel, editing A reel of no more than about 1000 feet. When films were edited on Moviolas or flatbed editing tables, the longest reasonable length of film editors could work with was 1000 feet, so traditionally, dialogue and other elements were edited and premixed in 1000-ft loads. After the premixes, the recorded reels were joined into 2000-ft double reels for the final mix, which was how the completed married print was distributed to theaters. When reels 1 and 2 were joined, the resulting reel was referred to as “Reel 1 A/B”; reels 3 and 4 became “Reel 2 A/B,” and so forth. In today’s electronic world, films are almost always sound-edited and mixed in 2000-ft reels.
Reel, exhibition A 2000-ft reel of film for distribution to theaters.
Resolver A device for controlling the playback speed of a tape recorder. Typically, field recordings have a pilot tone or timecode embedded into the signal. A resolver compares the recorded pilot tone signal with a known reference, possibly mains frequency or a crystal, to precisely recreate the speed of the original recording.
Ripple mode An editing function in which changes to the edit point result in corresponding changes to the rest of the timeline to the “right” of the edit. A delete ripple edit closes the gap of a selected area, advancing all subsequent material on that track. Inserting in the ripple mode delays all subsequent material by the amount of the insert. Pro Tools calls this the Shuffle mode.
Room tone The “air” of a location recording. Remove all words, movements, and noises from a dialogue recording and this is what’s left. It’s the dialogue editor’s most valuable tool for removing noises, bridging mismatched shots, and inserting ADR. Room tone is not the same thing as backgrounds or atmospheres.
Scrubbing A method of precisely locating a specific spot by listening to modulations while slowly moving the sound head (or the cursor in a DAW) over a track. It is very useful for finding ticks, pops, and other short-duration noises.
Shot (setup) A single camera position (or lighting setup) during a shoot. Dialogue editors organize sessions based on shots, since it’s logical for different setups to carry distinct sound characteristics.
Single system A recording or projection process in which sound and picture are on the same medium. Sound recorded directly onto videotape is an example of single-system recording; a married film print is an example of single-system projection.
SMPTE (Society of Motion Picture and Television Engineers) The professional standards organization that developed the SMPTE timecode standard for NTSC video: 29.97 fps, drop or non-drop frame.
Sound report Created by the location mixer, a description of the contents and details of a field recording. It is essential in dialogue editing when looking for alternate takes and wild sound.
Sound roll The original field sound recording media, whether ¼-inch tape, DAT, or hard disk. Each sound roll is accompanied by a sound report that describes the contents of the tape.
Source time In an EDL, the timecode that indicates the location within the original field recording that corresponds to an event in a session.
Spot (1) A DAW function that allows you to position an event to a specific timecode location. Spotting is useful for returning a region to its original location. (2) The process of determining where to place ADR lines or production effects.
Stem The final components of a film mix, usually LCRS or wider. Typically, there are stems for dialogue, SFX, backgrounds, Foley, and music, each containing the final decisions made by the mixer. When the mix is done, the stems are combined—hopefully without further alteration—to form the print master.
Streamer A visual cue, usually in the form of a vertical line moving from one side of the screen to the other, that tells an actor when to begin an ADR line.
SVA (stereo variable area) See Lt/Rt.
Sync pop See plop.
Talking head An onscreen interview element in a documentary film. When the picture editor cuts from the subject to other material (B-roll or cutaway), the subject’s disembodied audio track is referred to as voiceover. Picture editors cut from talking head to voiceover for illustrative purposes and to allow for editing of the voice track.
Telecine (1) A device used for transferring film to videotape or digital files. (2) The process of transferring film to videotape or digital files. Once called a film chain.
Telecine log A record of a telecine session used by the picture department and the negative cutters to maintain a solid relationship between the film negative and the videotape. The log can also carry audio metadata. Proprietary telecine log formats include FLEx and ALE files.
Temp mix (temp dub) A preliminary mix of a film usually made for a specific screening. The reasons for temporary mixes include focus groups and studio screenings, festival submissions, whims of the executive producers, and so on.
Temp music Music added during the picture edit to set a mood, increase drama, enhance the story, and/or facilitate editing. When picture editing ends, a composer will create music in the spirit of the temporary music, or a music consultant and music editor will acquire appropriate music, which then must be licensed.
3:2 pulldown A method of transferring film running at 24 fps to NTSC video running more or less at 30 fps, without changing the speed of the film. One frame of film is transferred to two successive video fields; the next film frame goes to three video fields, and so forth. Also called 2:3:2 pulldown or 2:3 pulldown.
Top and Tail The removal of unnecessary silence or extraneous material from the beginning and end of a sound clip (dialogue, SFX, BG, ADR, etc.). The resulting clip is ready for use.
VITC (Vertical Interval Timecode) It is inserted into the vertical interval (blanking) of a video stream. You can occasionally see VITC as dancing white dots and bars at the top of a television picture. Unlike LTC, VITC can be read at nonplay speeds, even when the tape is stopped, which makes it useful for scrubbing to a location on a tape to spot an event. Most timecode translators automatically switch from LTC to VITC at nonplay speeds and then back to LTC once picture lock is achieved.
Voiceover vs. narration In documentary sound editing, voiceover is a disembodied voice derived from character interview material. Narration is usually studio-recorded and not directly linked to a field recording. A character in the film can also be the narrator, but the field recording material is still called “voiceover,” whereas studio material is always called “narration.” Voiceover carries the legitimacy of the film’s characters, while narration is usually omniscient, sometimes known as the “voice of God.”
Vox pop (vox populi—Latin for voice of the people) Film interviews in which members of the “general public” are asked their opinions on a certain topic. These interviews are intended to appear spontaneous and unrehearsed and to reveal the opinion of the “man on the street.”
Wild sound (wild track) Any sound recorded on the set with no associated picture (as opposed to “sync sound”), including wild dialogue, room tone, effects, atmospheres, and more.
Work track A “safe” track in a dialogue session that contains no useful program material. Work tracks provide a comfortable environment for recording or opening extra material, editing in a sync-destroying mode (such as Pro Tool’s Shuffle), or doing other work tasks that can damage material sharing the track.
X (X, Y, Z, and more) tracks Tracks housing dialogue lines removed from the dialogue tracks because they were rerecorded (ADR). X tracks aren’t mere trash bins—lines moved to them must be fully edited and prepared for the mix in case the loop line is unacceptable in the mix or the director decides to keep the original line.
Zeppelin One of many humorous names for the fuzzy, energy-absorbing microphone covers seen on location shoots.