Index

1/4″ audiotape, 14

Nagra, 91, 215, 428

Uher model 1000, 9–10

1/4″ soundtrack, 9, 352–353

5.0 surround, 214

5.1 sound format, 498–500, 501, 506

recording for, 213–214

7-Series sound devices, 101–102, 189

8-mm filmmaking, 8–9, 12–14

16-mm filmmaking, 9–10, 11

24-track 2” tape, 50

35-mm combat Eymo, 11

35-mm film, 127–128

frame perforations in, 140

fullcoat, 50, 127, 128

mag-stripe, 127–128

photographic, 127

syncing and, 140

transfers from, 137

100 Moey gear head, 11

A

Aaton Cantar-X, 104–112

AB projection reels, 31

AB stereo, 552, 564

A-B-C approach, 295–296

The Abyss, 160

Academy. See Academy of Motion Picture Arts and Sciences

Academy Awards, 19–24

British, 419

Academy leader, 142, 143

Academy of Motion Picture Arts and Sciences, 19–24, 253, 282

Acetate base, 552

Acmade edge-coding machine, 118

Acoustic instruments, 467

Acoustics, 552

Actors

ADR liked/disliked by, 370

boom operator relations with, 84–85

channels and, 68

looping and, 56, 362, 365–368

microphone placement on, 58–59

noise and, 357–358

pick-up lines and, 85–86

sync and, 365–401

ADC, 552

ADR (Automatic dialog recording), 50, 361, 368. See also ADR Supervisor

advent of, 368–369

cueing lines of, 374–375, 378–387

cutting, 400

microphones for, 390–391

practice exercise in, 369, 569–570

practice lines for, 369–370

Pro Tools and, 373

re-recording and, 401

room tones and, 86

software and, 381–387

sync and, 365–401

traditional form of, 378–381

transfers, sound editor and, 354

ADR form, 379, 380

ADR mixer, 388–389

ADR Protection Report, 392–393

ADR recordist, 389–390

ADR stage crew, 388–390

ADR supervisor, 370–371, 392

AES (Audio Engineering Society), 552

Aircraft carrier effect, 461

Airplanes, custom recording, 204–206

Airport, 212

Alignment, 552

All in and Mix approach, 294–295

All the President's Men, 92–94

Altman, Robert, 91, 92

Ambiance, 552

5.1, 213–214

fill presence, 61, 86, 359–361

Ambient noise(s), 25, 86

Ament, Vanessa, 328, 329, 424

American Graffiti, 274, 473

American Movie Classics, 376

American National Television System Committee (NTSC), 132, 134

Amerika, 489

Amodeo, Rusty, 84–85, 129

Amplification, 552

Analog, 552

Analog recording, 62–63, 525

Analog transfers, 128, 137

Anderson, Richard, 20, 247, 265–266, 429

Andromeda Strain, 189–190, 406

Anechoic chamber, 552

Animals, 204

Animation feature anecdote, 30–33

Annual Index to Motion Picture Credits, 282

Apocalypse Now, 255, 274

Apogee converters, 137

Archiving, 508–509

Army of Darkness, 11

Art form, 24, 255, 318

collaborative, 262

colorization as, 510, 518, 520

dialog editing as invisible, 345, 362–363

Foley as, 439

tools v., 155

Articulation, 552

Artman, Wayne, 359

Asperity noise, 552

Assistant director, 59–61, 86

Attenuate, 553. See also Cable attenuation

Audience

Foley and, 432

language for targeted, 377

Audio, 504

event list, 16

Audio analyzer, 553

Audio art form, 24

Audio CD sound libraries, 308–309

Audio fatigue, 553

Audio files, 218–251

cleaning of, 228–230

mastering, 226–228

naming/renaming, 232, 238–239, 246–247

preparation of, 235–237

protocol for, 237–239

Audio signal path, 443–444

Audio signals

converting 10 dB, 355

time code, 135, 353

Audio technologies, emerging colorization and, 509–524

DVD authoring and, 501–502

sound restoration/preservation, 505–510

total immersion, 502–505

Auditions, mixer, 314

August, Billie, 466–467

Automated dialog replacement. See ADR

Automated digital recording supervisor, 285

Autopsy, 430–431

Avery, Dwayne, 328

The Aviator, 47–48, 205, 362, 521–522

Avid, 58, 158, 160, 372

Awards, 19, 23–24, 94, 95, 187, 259. See also Academy Awards

B

Back to the Future, 265

Backgrounds, 302–305, 338

Back-up, 30, 49, 228, 553

cost of failing to, 33–34

hard drive media, 50

production recording and, 63–64

with Zaxcom Deva V, 97, 100

Balance stripe, 13, 553

Balanced connectors, 553

Baldwin, Adam, 192

Balestier, Bruce, 129

Bandwidth, 553

Barrymore, John, 402–403

Batteries, 215–216

Nagra IV-S, 527, 529, 541

for smart slate, 78

wireless microphone, 84

Battle Beyond the Stars, 256, 257, 362, 412

Bavaria Studios, 261

Beach, Michael, 414

Beaton, Jesse, 35, 486

Beck, Austin, 414

Beethoven, 21

Best Sound award, 94, 95, 187, 259, 486

Best Sound Editing award, 22, 209, 259, 419

British, 419

Bias, 553

Bidding, 66, 320

Bi-directional microphones, 70

Big Sound concept, 254–255, 338

Bigelow, Katherine, 168, 483

Bimbaum, Elisha, 14

Bit rate, 553

Black Moon Rising, 2, 49

Black, Shirley Temple, 516, 523

Black Stallion, 334

Blooping ink, 553

Blu-Ray technology, 226

BNC connector, 553

Body fall impacts, 406, 407

Boehler, Hurley, 205

Bolger, Jack, 402

Boom, 554

Boom box, 18

Boom operator, 26, 41, 58–59, 79, 81–85, 323, 554

Boom techniques, 79, 80–82, 323. See also Subwoofers

Bounce-to-disk, 554

Boundary microphone, 554

Boyd, John S., 477

Brain, left/right, 17

Brainstorm, 503

Bratton, Bob, 190

Brennan, Walter, 404

British Academy award, 419

Budget, 25, 26, 27, 30–40, 126, 161, 283, 318–319, 320. See also Low-budget strategies

collateral costs and, 30–33, 37, 401

fundamentals, 40–55

music, 46–47

post sound, 52–55

producer and, 320–321

production sound, 44–46, 321–322

schedules and, 372–373, 472–473

sound-editorial, 47–50

stock purchase, 46, 51–52

transfer, 50–52

Burtt, Ben, 255

C

Cable, 322

balanced/unbalanced, 554

Cable attenuation, 554

Cable man, 41, 59

California Split, 92

Camera crew, 114

Camera operator, 61

Cameras, 11

5.1 imaging and, 213–214

65-mm, 10

optical sound, 67, 219–220

report, 114

unblimped, 26

under/over cranking, 69

video, 322

Cameron, James, 160

Campbell, Bruce, 11–16

Campbell, Chuck, 419

Cannon Fire, 306–307

Cantar X. See Aaton Cantar-X

Capacity, 554

Capra, Frank, 512

Capstan, 535, 554

Car bys, 198

Car sounds. See Vehicle sounds

Car stunts, 192

Cardioid microphones, 70, 71, 566

Cardioid response, 554

Carman, David, 406

Carpenter, John, 27, 169, 170, 178–179, 192–194, 252, 257–258, 278, 298, 331

Carradine, David, 178

Carver, Steve, 182

Cary Grant Theatre at MGM, 28

Casablanca, 512

Casari, Derek, 389

Cast budget, 52

Cast list, 291

Catalog databases, 247–250

Causey, Tommy, 27

CCIR Nagras, 554

CD-ROM, 226–228

CGI. See Computer-generated image

Chain Reaction, 39–40, 171, 329, 424

Chalmers, Kitty, 161

Christine, 192–194, 418

A Christmas Wish, 523

Clacks, 357–358

Cleaning, audio file, 228–230

Click track, 554

Clipping, 554

Clockers, 163

Clothes, 217, 427–428

Cloud, Smokey, 265

The Cock and Bull Story, 112

Code book, 144, 145–147. See also Encode

Cohen and Tate, 192, 193

Cole, Peter, 181, 183, 284

Colette system, 73

Colin-Broad streamer, 369, 383

Collateral costs, 30–33, 37, 401

Color coding, 141, 240

Colorization, 509–524, 555

Communication equipment budget, 44

Compander, 554

Comparative medium recordings, 62

Completion bond companies, 472

Compressor, 554

Computer-generated image (CGI), 169–170

Condenser mic, 555

Conform, 118–121, 126

Connector, 554

Converters, D-A/A-D, 137

Convolution, 276

Coonfer, Wade, 290

Cooper, Marian C., 521–522

Corman, Roger, 36, 164, 256, 257, 278, 412

Costs. See also Budget; Fees back-up, 33–34

collateral, 30–33, 37, 401

fullcoat, 50

hidden, 38

picture, 473

picture editing, 151–152

Coverage, 148, 152, 153

Cox, Joel, 185

Crabtree, Casey, 421–422

Craftsperson, 45, 166, 339, 503

Crescent notching, 300

Crew

ADR, 388–390

camera, 114

low-budget sound, 336–338

production sound, 57–59

sound editorial, 280–287

Crichton, Michael, 189

Crimewave, 11

Critical studies, 3

Cross-talk, 555

Crothers, Scatman, 361, 362

Cue control, 555

Cue numbers, 219, 250

Cueing, 313–317

ADR, 374–375, 378–387

Foley, 425–427

Cues. See Cue control; Dialog cues; Foley cues; Music cues; Picture cues; Sound cues

Curtiz, Michael, 66

Custom FX Recordist, 47

Custom recording, 41, 43, 181–217, 218, 337

adventure of, 185–187

airplanes, 204–206

animals, 204

explosions, 206–210, 269–270

multiple points of view, 202–203

script breakdown and, 211–213

sound editors and, 190–192

specialists in, 186, 188–190

transfers of, 219, 251

vehicles, 192–203, 310

weapons, 181–185

Cut lists, 293–294

Cutting

ADR, 400

approaches, 294–296

backgrounds, 302–305

film, 115–118

nonlinear, 118–124

nonlinear/conform, 118–121, 126

Cyborg, 161

D

DA-88 8-channel recorders, 91, 137, 436

Dailies/daily rolls, 44, 115, 116, 139–147

Dances with Wolves, 486

Dante's Peak, 141, 142

Darkman, 11

Das Boot, 258–261, 320

DAT (digital audio tape), 555

back-up copies of, 33–34

recorders, 62, 67, 137, 224–226

Data entry, 126, 147. See also Code book

Davis, Andrew, 39–40, 171

DAW systems, 450

The Day the Earth Stood Still, 256

Daylight, 277

dB (decibel), 21, 555

The Dead Zone, 462–463

Death Before Dishonor, 27–28

A Death in the Family, 60

Deathsport, 416

Decibel (dB), 21, 555

De-clicking, 346

Decoder, 555

Degaussed, 555

Delivery format, 115, 137

Denecke smart slate, 77

Dental clacks, 357–358

Desilu Studios, 404

Dialog cues, 352–354

Dialog editing, 345–364

actors’ performance and, 362–363

EDL in, 349–350

equalizing/volume graphing in, 363–364

fill creating in, 359–361

laying out tracks in, 354–364

noise removal in, 357–358

OMF and, 329, 350–352, 358–359

P-FX effects in, 358–359

quality control, 346

reprinting and, 352–354

sequence sheets in, 347–349

transparency of, 361–362

Dialog editor. See also Dialog supervisor

dialog track layout and, 354–355

low-budget strategies and, 337

OMF use by, 329, 350–352, 358–359

Dialog mixers, 41, 43–44, 175, 371–372

Dialog recording, 30, 56–58, 92, 112–113. See also ADR

looping technique of, 394–397

Dialog supervisor, 285, 346

Dialog sync, 352–353

Dialog/dialog tracks, 29, 41, 44, 354–364

music score and, 460–462, 471

spotting sessions and, 174, 175

Digidesign, 301, 437

Digital, 555

Digital audio, 34, 290

convolution and, 276

dailies and, 44

fade techniques and, 300–302

Foley and, 424

picture editing, 154–155

print mastering and, 55, 494–496

standards, 129

Digital colorization, 513–515

Digital Dreams, 330

Digital recorders, 100–113, 137

Digital recording, 58

analog v., 62–63, 525

direct-to-disk, 95–100

transfers and, 129

Digital technology, 34, 63, 154–155, 290, 555. See also Nonlinear systems

Digital ticks, 229–230

Digital workstation, 440–458

audio file drives for, 448

drive management and, 445–458

speakers for, 445

Directivity index, 555

Director, 148, 151, 158, 159, 172. See also Assistant director

budget and, 320

re-recording process and, 482–483

vision of, 176

Director of photography (DP), 82, 83

Direct-to-disk digital recording, 95–100

Direct-to-picture, 403. See also sync-to-picture approach

Discrete, 555

DiskTracker, 243–244, 245–246

Distortion, 18, 237, 555–556, 557

volume v., 17–18

Diversity reception, 556

Doctor Jekyll and Ms. Hyde, 505

Dolby DTS, 494–495

Dolby SDDS, 494–495

Dolby SR channels, 39

Dolby SR-D, 494–495

Don Juan, 402–403

Doppler effect, 201

Douglas, Jack, 155

Douglas, Kirk, 404

DP. See Director of photography

Dracula, 261

Dreamscape, 418

Dreyfuss, Richard, 85

Drifting, 10

Drive management, 445–458

Drop-frame, 556

Drop-frame time code, 136, 556

Drop-out, 556

DSP functions, 556

Dual Capsule stereo microphone, 88

Dual Diaphragm, 556

Dubbing. See also Predubbing; Temp dubs

cue sheet, 315–317

reel-to-reel, 54

Dummy head stereo, 556

Dupes, 289–291

DVD (interactive), 567–570

ADR-looping boot camp exercises, 569–570

Foley boot camp exercises, 572

slide shows, 569

DVD authoring, 501–502

Dynamic range, 556

Dynamics, 21, 556

Dyslexia, 126

E

Early applications, 9–11

Eastman Kodak 8-mm spring-wind camera, 7

Eastwood, Clint, 183–185, 257

Edge code numbers, 117–118

Edge code process, 115, 139

Edgerton, Gary R., 511–512

Edit Decision List (EDL), 120, 349–350

Editing, 7, 9, 47, 49. See also Dialog editing; Picture editing

Flat-bed, machines for, 163

Foley, 432–439

nonlinear platforms for, 442–458

EDL. See Edit Decision List

Effects mixer, 481–482

Electro-Voice, 277

Emmy, 19

Emulsion, 556

Encode, 556

Encoders, outboard A to D, 137

The Enforcer, 185

Entertainment

sound, reality v., 9, 270–272

total immersion, 504–505

Equalization, 272. See also Nagra IV-S; Parametric equalizer

volume graphing and, 312–313, 363–364

Equalizer

graphic, 557

parametric, 480, 560

Escape From New York, 21, 54, 169, 192, 269, 271, 278, 362

backgrounds for, 302

E.T. the Extra Terrestrial, 419

Evil Dead 2, 15

Evil Dead trilogy, 11, 14

Exciter lamp, 556

Explosions, 206–210, 269–270

Extreme Measures, 433

Eymo camera, 11

F

Fabric, 84

Fade techniques, 299–300

Fade tests, 226

Fader/fader pot, 479

Fandango, 265

Fantasia, 138

Fasal, John, 185, 189

Feedback, 557

Fees, license, 55, 497

Fejos, Paul, 66

Field recording, 90–91, 101, 213–214

Fields, Verna, 168, 332

The Fifth Element, 294

Fill presence, 61, 86, 359–361

Film, 156, 163

8 mm, 12

character-driven, 157, 158

cutting on, 115–118

dialog cues from, 352–354

edge code/key code on, 117–118

foreign mix/M&E for, 55, 496–497

marking sync on, 296–298

nonlinear platform v., 144, 151, 154–155

screening, 54, 151

shot on, 115–123

soundtrack formats for, 494–496

television conversion of, 134

Filmmaking, 6, 34

8-mm, 8–9, 12–14

16-mm, 9–10, 11

planning for, 28–29

The Final Countdown, 247, 248, 249

Final Cut Pro, 58, 160, 372

Final mix, 492. See also Print mastering

backgrounds and, 303

predubbing and quality of, 52, 54, 171

Final soundtrack

production mixer and, 63

spotting sessions and, 173–174

success/failure of, 25, 288

Finals line item, 53, 54

Fine print, 38

Fire, Foley effect for, 428

FireWire devices, 104

First assistant picture editor, 162

First assistant sound editor, 283–284, 354

Fish-pole microphone boom, 79, 80–81, 82

Flags of Our Fathers, 183–185

Flat-bed editing machines, 163

Flick, Donald, 421

Flick, Stephen Hunter, 247, 266–269

Flutter, 557

Foley, 402–439, 557

clothes movement and, 427–428

custom, 433

editing, 432–439

exercises, DVD, 572

low-budget strategies and, 329, 341

microphones for, 423–424

modern, 405–408

prop room for, 413–417

Pro Tools and, 424, 426–427, 433–439

safety and, 428–430

sound editorial and, 286–287

sound effects’ creation and, 419

stems, 436–439

supervising editor for, 417–419

techniques for, 427–432

tracks, 50, 90–91

Foley artists, 287, 404–407, 422–423

hiring, 419–420

Foley cues, 28, 425–427

Foley, Jack, 402–405

Foley stage, 28, 137, 287, 405

in action, 422–425

design of, 408

pits/surfaces of, 408–413

time budget for, 52

Foley stage recordist, 425

Foley supervisor, 286–287

Foley's Room, 404

Footage, 154

Footsteps, 403, 404

Ford, Harrison, 429

Ford, John, 148

Foreign mix/M&E, print mastering, 55, 496–497

Frame, 132–137, 292, 304–305, 462, 560

flash-out, 139

perforations, 140

rates, 135

Frank & Jesse, 505

Frankenheimer, John, 260, 311

Franklin, Carl, 35–36, 328, 486

French Resistance, 8

Frequency, 553, 556, 557

Frequency response, 557

Friedman, Thomas L., 520

Fullcoat, 50, 127, 128, 557

G

Gain, 557

Gain brain, 557

GATTACA, 274–275

Generation loss, 54, 557

Generators, background noise of, 25

Genre, budget and, 320

“The Germans Wore Gray, You Wore Blue,” 511–512

Gibson, Mel, 202

Gifts, 15

Glass, Bob, Jr., 346

Glass, Foley effect for, 428

God, use of word, 376, 377

Goldblatt, Mark, 150–151, 153, 154

Golden Reel Awards, 19

Golden Seal, 411

Goldsmith, Jerry, 160, 470, 471

Goldwyn Studios, 182

Gossett, Lou, Jr., 359

Grand Theft, 266

Graphic equalizer, 557

Grass, Foley effect for, 428

Gray noise, 202

The Great Texas Dynamite Chase, 156

Great Triangle Formula, 35, 319

Group Walla, 50, 52, 53, 302, 399–400, 557

Guide-track, 30, 125, 347, 355

Guns of Navarone, 9

H

Hall, Ken, 470–471

The Happy Valley Kid, 14

Hard drives

149 A, 446–447

back-up, 50

budget line-item/sound editorial budget for, 50

defragmenting, 448–449

external, 289

managing, 445–450

Zaxcom Deva V-Digital Recorder, 96

Harmonic distortion, 557

Harryhausen, Ray, 521

Hawaii 5-O, 328

Head mixer, 481

Head room, 557

Head stack, 557–558

Head wear, 52

Hearing, 17–18

Heart-shaped pick-up pattern, 70, 71

Hedgepath, Greg, 476, 477

Hells Angels, 522

The Hellstrom Chronicles, 419

Heman, Roger, 402

Hercules, 16

Herrmann, Bernard, 459–460

Heston, Charlton, 256

Hiddal, Petur, 110

High pass filter, 558

Hill, Debra, 169, 462–463

Hirose connector, 558

Hissing, dialog, 29

Hitchcock, William, Sr., 402

Horner, James, 463

Howard, Ron, 266

Howell, Lee, 329

Hughes, Howard, 523

The Hunt for Red October, 467

Hunter, Ross, 212

Hyderabad (India), 520–521

Hydrogen jet car, 49

Hyperawareness, 17

Hypercardioid microphone, 70, 71

Hytti, Antti, 254

Hz (hertz), 558

I

IEEE Spectrum, 511

Illusion, 210, 211, 278

Image frequency, 558

Image rejection, 558

Impedance, 558

India, 520

Information header, 64–65, 314–315

In-lab service, 44–45

Inputs, 558

Instruments, recording acoustic, 467

Interface I/0, 444

Inter-filling, 61

Interlock, 558

Internet, test screening and, 169

Inventory databases, sound effect, 243–247

ISDN, 393

It's a Wonderful Life, 511

J

Jack plug/socket, 558

Jacob's Ladder, 162

Jam sync, 558

Jargon, 5

Jaws, 168–169, 187

The Jazz Singer, 403

Jensen, George, 512–513

Jingle All the Way, 430

Johnny Got His Gun, 156

Johnson, Jon, 264

Jordan, Tim, 201

Jussi award (Finnish), 95

Just My Luck, 381–382

Jyrälä, Paul, 94–95, 254

K

Kastner, Stan, 477

KEM, 558

KEM rolls, 115, 147

Kennedy, George, 212

Key code numbers, 117–118

Key edge numbers, 117–118, 350

Keys, 82, 118

kHz (kilohertz), 558

King, Richard, 209–210, 263–264, 274–275

King, Zalman, 162

Kizer, R. J., 372–375

Klark-Teknik equalizer, 231, 273

Kleiser, Randal, 466

Knight, Tom, 341–344

Kubik, Lawrence, 27

Kubrick, Stanley, 404–405

Kulczycki, David, 373

Kuortti, Matti, 94

L

Lab service, 44–45

Labor, 283

budgeting, 47

Lacey, Ronald, 429

Lancaster, Burt, 212

Language, appropriate use of, 375–377

Larsen, John A., 264–265

Larson, John, 171

Laser Fire, 308

Last frame of action (LFOA), 292

Last frame of picture (LFOP), 292

Layback, 559

Layback drive (transport), 31

Layering techniques, 305–306

Lazy man's cradle, 81

Leaders

Academy, 142, 143

head/tail, 141–145

LeBlanc, John, 90–91

Lee, Spike, 165, 166

Lee, Steve, 218

Left brain/right brain, 17

Legal issues, 176

Legato, Rob, 522

Legend Films, 512, 516–524

Legionnaire, 268

Leigh, Janet, 274

Le-Mare, Mike, 258–261, 320

Leno, Jay, 84

Leonard, Terry, 27

Leviathan, 298

Lewis, Mel, 467–469

LFOA. See Last frame of action

LFOP. See Last frame of picture

Libenson, Patricio, 275

Lights, boom operator and, 82–83

Limiter, 559

Linear numbering system, 223–224

Line-up tones, 64–65, 128–131

Lip smacks, 357–358

Listening, 367, 371–372

environment, 507–508

Loan, Lindsay, 381

Lobar (pick-up pattern), 559

Log-and-capture, 121–122, 125

Lone Wolf McQuade, 182

Looping, 56, 365–368, 393–400

actors and, 56, 362, 365–368

ADR and, 365–401, 571–572

dialog recording using, 394–397

editor, 365–368

remote location, 397–398

Looping rooms, 367

Lord of the Rings, 277

Low-budget strategies, 318–344

big sound and, 335–336

crew on, 336–338

problem solving and, 341–344

producers and, 320–321

recording strategies, 324–325

sound editorial, 318–344

Lowe, Rob, 346

Lubitsch, Ernst, 66

Lucas, George, 278, 473

Lundgren, Dolph, 359, 416

Lynch, David, 334

M

Magna-Tech, 559

Magnetic emulsion, 13

Magnetic film transfers, 54

Magnolia, 275

Mag-stripe

stock, 13, 120, 127–128

technology, 155

Mangini, Mark, 339–341

Marking film sync, 296–298

Master and Commander: The Far Side of the World, 209–210, 263–264

Master angle, 152, 153

Master shots, 82

Mastering

audio files, 226–228

cutting backgrounds and, 303

Mauser rifle Protool session, 268

Maynes, Charles, 185, 202, 272, 275–277

Mazursky, Paul, 360, 362, 400

McLaughlin, Chris, 92

McTiernan, John, 467

M&E (monitoring and evaluation), 341, 358

foreign mix and, 55, 496–497

print mastering and, 55, 496–497

Meters

peak, 65, 129, 130

VU, 18, 129

Michigan State University, 14

Microphone boom, 79, 80–83, 323

Microphones, 75, 546. See also Boom operator; Boom techniques

actor position of, 58–59

ADR, 390–391

bi-directional, 70

boundary, 554

budgeting for, 25

built-in video, 125, 322

cardioid, 70, 71, 566

condenser, 555

Foley, 423–424

moving-coil (dynamic), 71, 559

music recording, 76

omnidirectional, 70–71, 560

pick-up patterns for, 70–77

pressure gradient, 562

production recording, 70–77

radio/wireless, 83–84

response, 563

Schoeps, 73–74, 75, 76, 214, 215, 327

shotgun, 70, 71–72, 77, 80, 563

sound effects and, 200, 202

split, 68

stereo capsule, 88–90

supercardioid, 70, 71–72

techniques in production sound use of, 81–85

transducer, 565

water-proofable, 277

X-Y configuration of, 87

MIDI (Musical Instrument Digital Interface), 559

Military terms, 6

Milius, John, 466

Miller, George, 362

Mini-Shotgun. See Hyper-cardioid microphone

Misinformation, 2

Mix, 21, 54. See also Final mix; Remixes

foreign, 55, 496–497

Mixers, 373–374. See also Production mixer; Recording mixer; Sound mixer

ADR, 388–389

auditions, 314

dialog, 41, 43–44, 175, 371–372

re-recording, 312, 313, 481–484, 489–490

sound designers as, 488

sound effects and, 41

Mixing, 29–30, 373–374

flowchart for re-recording, 485–487

multichannel, 91–92

re-recording, 476, 485–487

schedule, 485–487

sound design and, 339–341

sound editorial and, 282

Mixing console, 476, 478, 487–488

MKH 60 microphone, 72–73

Mohr, Hal, 66

Monaural (monophonic), 325–327, 559

Monitoring, 559. See also M&E field recordings, 90–91

Monitors, 559

Moon over Parador, 85

Moonbeam Riders, 188

“Moonlight Sonata,” 21

Moore, Millie, 152, 153, 154–158

Moore, Terry, 522

Morrow, Vic, 361

MOS (without sound), 66–67

Moscow on the Hudson, 299, 362, 400

Mosley, John, 334

Motion Picture Association of America (MPAA) ratings, 376, 377

Moving-coil (dynamic) microphone, 559

Moviola, 15, 157, 174, 220, 559

MR8 technologies, 137

MR16 technologies, 137

M-S stereo, 559

Multichannel mastering, 239–241

Multi-gang synchronizer, 139

Multiple microphones, budgeting for, 25

Murch, Walter, 255, 272, 273

Music

amount of, 473–474

budget, 46–47

dialog and, 460–462, 471

electronic, 464, 469

function of, 468

licensed, 473

recording, 76, 460

spotting sessions, 463, 471

temp dub, 159, 170, 464

Music composers, 173, 459–474

challenges for, 460–462

collaboration and, 461, 465–466

foreign sales pressuring, 473–474

great, 459–460

hiring, 462–463

insight needed by, 471–472

music editor and, 463–464

Music cues, 463–464

Music editor, 463–464, 470–471, 477

Music mixer, 482

Music score

dialog and, 460–462, 471

notations for, 471

schedule issues and, 472–473

sound effects and, 460–462, 471

Mystery Men, 275–276

N

NAB (National Association of Broadcasters), 559

Nagra

1/4” machines, 62, 91, 215, 428

forerunner of, 155

Nagra IV-S, 205, 525–551

analog/digital recording collaboration with, 525

batteries for, 527, 529, 541

capstan/pinch roller of, 535

CCIR v. NAB, 526–527

control panel-center front of, 540–542

control panel-left front, 542–544

control panel-right front, 535–540

designation chart for, 528

frequency attenuation selection on, 541

heads of, 533–535

in/out connectors of, 544–546

line selector on, 542

maintenance for, 551

microphone connector/inputs, 546

mono/stereo selector, 542

output transfers on, 548–549

phantom power selectors on, 547

phase selection for, 547

pilot track recording/playback, 549

playback mode of, 538

power supply for, 548

recording positions on, 537–538

rewind/fast forward with, 532–533

right flank/output side of, 547–548

speed/equalization selector for, 530–531

stock for, 526

sturdiness of, 525

synch signal on, 541

tape thread path on, 531–532

time code on, 550–551

volume control pots, 538–540

Nagra V. See this book's website.

The Naked Jungle, 256

Nashville, 91, 92

Near Dark, 168, 483

Necronomicon, 14

Negative cutting, 120

Negative key edge numbers, 350

Neumann microphones, 77, 88–90

Neve Logic 2 console, 476, 477

Newman, Alfred, 464

Noise, 357–358

ambient, 25, 86

cancellation, 559

cleaning out, 229

clothes and, 217

gray, 202

pink, 130–131, 561

Noise gate, 560

Nondrop-frame time code, 136–137, 560

Non-interlocking sound gear, 9

Nonlinear systems, 122

audio signal path, 443–444

cutting on, 118–124

for dialog editing reprinting, 353–354

editing, 442–445

film v., 144, 151, 154–155

interface I/0, 444

picture editing using, 144, 151, 154–155, 156, 157, 159, 175

Pro Tools editing and, 442–458

as technology, limits/value of, 156, 157, 159, 202, 290, 372

Norris, Chuck, 182

Norton Utilities software, 227–228, 448

NTSC. See American National Television System Committee

Nuendo 3 media production system, 450–458

The Nuremberg Affair, 8–9

O

Observation skills, 178–180

O'Connell, Dan, 416–417

Ohm, 560

Olney, Susan, 510

OMF (Open Media Framework) procedure, 45, 120, 121, 291, 455, 560

data entry and, 126

dialog editing and, 329, 350–352, 358–359

EDL and, in Pro Tools sessions, 350

low-budget strategies/features and, 329

Postconform v., 354

Omnidirectional microphones, 70–71, 560

On-camera production, 56

One False Move, 328–329, 414, 486–487

One-frame overlaps, 304–305

Open Media Framework. See OMF

Optical head, 560

Optical sound, 67, 219–220, 404

Optical track, 220, 221

Oscar, 22

The Outlaw, 522

Output, 560

Output settings, 121, 123, 125, 548–549

Overmodulation, 225

Overtones, 560

P

Pad, 560

Pakula, Alan, 92

Pal, George, 255–256

Pan pot, 560

Pan pot controllers, 323–325, 327

Parametric equalizer, 480, 560

Parikka, Pekka, 26, 57, 94–95, 254–255

Parlow, Rick, 329

Passion, 5

Pause button, 13

Paxton, Bill, 346, 414

Peak meter, 65, 129, 130, 560

Peak season, 36

Peckerwood Canyon, 303

Perfectone, 155

Perkins, Jeffrey, 486

Perreault, Andre, 477

Petersen, Wolfgang, 258–261

P-FX, 356–357, 358–359

Phantom imaging, 560–561

Phantom power, 322, 561

Phase, 561

Phase matching, 126, 563

Phasing, 87–88

The Philadelphia Experiment, 428

Phone conversations, 92–94

Photographic film, 35-mm, 127

Photography. See also Optical track

working with director of, 26

Pick-up lines, 85–86

Pick-up pattern, 70–77, 559, 561

Picture

big-budget v. low-budget, 318–319

cost of today's, 473

dupes, 289–291

ratings, language and, 376, 377

silent, 403

Picture assistant, 145–146, 147

Picture cues, 313–317

Picture editing, 121–122, 138–166

career start in, 164–166

code book in, 144, 145–147

continuity supplied by, 291–292

cost issues in, 151–152

coverage in, 148, 152, 153

cueing in, 313–317

digital, 154–155

digital recording compatibility with, 58

nonlinear systems and, 144, 151, 154–155, 156, 157, 159, 175

OMF and, 121

personal accounts of, 149–164

sound effects and, 158, 160

sound syncing process in, 139–147

transfers to, 44–45, 115, 120, 121

Picture editor, 117, 122, 123, 124, 148–151, 152

budget and, 320

director and, 151, 158, 159

first assistant to, 162

importance of, 148–149

second/multiple, 156

sought after job of, 148–149

young, 157

Picture lock outputs, 123

Picture start, 142, 143, 292

Picture title, 67

Pilotone, 352

The Pink Fuzzy Nightgown, 522

Pink noise, 130–131, 561

Pipe test, 303

Planning, 3, 26, 27–29

Playback, 556

Pleasance, Donald, 178

Plug-in budget forms, 40

PNO. See Program number

Polar pattern, 561

Polarization voltage, 561

Poledoruis, Basil, 464–467, 473

Polito, John, 505–506

Pollard, Sam, 163

Pop, 292–293, 391, 561–562

filter, 562

Porter, Terry, 138

Portman, Richard, 374

Post, John, 406–407, 416, 418, 430–431

Postconform, 353–354, 562

Postproduction, 331. See also Transfers

code book and, 144

dialog editing quality control before, 346

facilities, 50

film-driven, 143–144

looping, 56

Nuendo software for, 450–458

schedules, 154, 171, 173–174

supervisor, 33

time codes and, 132

video/picture dupes and, 289

Postsound, 52–55

Potter, Eric, 189, 203, 240, 275

Power supply, 215–216

Pratt-Whitney engines, 47–48

Preamp, 562

Predator 2, 267, 432–433

Predubbing

approaches to, 294–296

final mix, 52, 54, 171

re-recording process, 484–487

Preparation, 294–317

audio files’, 235–237

Preproduction, 27, 118, 125, 151–152

Presence. See Fill presence

Presence peak, 562

Presentation, 313–314

Pressman, Michael, 156

Pressure gradient microphone, 562

Pricewaterhouse Coopers, 19–20, 22

Print mastering. See also Workprint

foreign mix/M&E for, 55, 496–497

re-recording process and, 492–497

Print-thru, 562–563

Pro Tools/Pro Tools sessions, 30, 229, 232

192 expansion cards, 444

ADR and, 373

audio file protocol using, 237

audio signal path, 443–444

Cannon Fire, 306–307

DIA, 355–357

dialog transfers in, 353

Digidesign fading in, 301

as dominant nonlinear editing platform, 442–443

drive management and, 445–446

EDLs/OMF in, 350

Foley and, 424, 426–427, 433–439

interface I/0, 444

Laser Fire and, 308

Mauser rifle, 268

nonlinear editing in, 442–458

OMF synching with, 121, 351

one-frame overlaps, 304–305

QuickTime movie transfers in, 289, 290, 355

vehicle sequence in, 309

Producers, 32, 172

budget and, 320–321

Production audio source, 291

Production dialog, 41, 43–44

Production FX recordist, 41

Custom, 47

Production mixer, 59–60

ADR and, 365

equipment used by, 44, 62, 111–112

final soundtrack and, 63

raw stock supply for, 46, 50

sound effects and, 188

Production recording, 56–113

backups in, 63–64

challenge/goal of, 113

low-budget, 321–322

microphones in, 70–77

multichannel, 91–92

sequence of, 59–61

sound mixer in, 57–58, 64–69

Production sound

budget, 44–46, 321–322

crew for, 57–59

Production track

listening carefully to, 371–372

spotting sessions and, 174–175

Program number (PNO), 67, 68, 561

Projectionist, 142

Projectors

sound-on-sound, 13

Vari-speed, 13

Prop department, 83. See also Prop rooms

Prop rooms, Foley, 413–417

Prosky, Robert, 201

Proximity effect, 563

Pull-down effect, 134

Pull-ups, 493–494

The Punisher, 359, 416

Q

Quadraphonic, 563

Quality control. See also M&E

dialog editing, 346

DVD authoring and, 501–502

QuickTime

Pro Tools transfers from, 289, 290, 355

sync issues and, 290

video files, 289, 290

R

Raiders of the Lost Ark, 286

Raimi, Sam, 14–15, 16

The Real Cancun, 163

The Real World, 163

Realism, 9

Reality sound, 9, 270–272, 277

Recording. See also Custom recording; Dialog recording; Digital recording; Re-recording process

5.1 sound format, 213–214

+6 dB, 423

acoustic instruments, 467

ADR, speed of, 373

analog, 62–63, 525

CD-ROM/DVD-R, 226–228

field, 90–91, 101, 213–214

flat, 400

Foley, 433–436

Foley stage recordist and, 425

group walla, 400

kit, 61–62, 215–217

monaural channel, 325–327

music, 76, 460

phone conversations, 92–94

preparation for, 215–217

presence, 86

saturation style, 225

in snow, 94–95

stereo, 324–325, 327, 400

wild track, 43, 85–86, 213, 329

Recording device, in information header, 65

Recording formats, sound mixer choosing best, 57–58

Recording kit, 61–62, 215–217

Recording mixer, 422–423

Red Shoe Diaries, 162

Redford, Robert, 92–93, 94

Reefer Madness, 519

Reels, 290

AB projection, 31

time budgeting for, 54

Reeve, Christopher, 362

Reiner, Rob, 473

Remastering, 508

Remixes, foreign, 261

Remote location looping, 397–398

Reprinting

dialog cues, 352–354

nonlinear, 353–354

Re-recording mixer, 312, 313, 481–484, 489–490

sound editor and, blending of, 331–335

supervising sound editor as, 338–341

Re-recording process, 175, 272–273, 476–497

ADR and, 401

collaboration in, 483–484

credenza in, 477, 478–481

directors and, 482–483

effects mixer, 481–482

head mixer in, 481

mixers in, 312, 313, 481–484, 489–490

mixing console of, 476, 478, 487–488

mixing in, 476, 485–487

music editor and, 477

music mixer in, 482

overview of, 476–478

predubbing tactical flow in, 484–487

print mastering and, 492–497

protocol in, 491–492

pull-ups and, 493–494

schedules and, 485–487

Schwarzenegger on, 475–476

teamwork in, 485–487

Response, 563

Restoration, 138, 505–510

colorization and, 516

Retransferring, 251

Reverberation, 276, 563

Rice, Steve, 362

Richards, Charlene, 418

Right brain/left brain, 17

Rivas tape splicer, 563

Road Warrior, 202

Ronin, 260, 311

The Rookie, 377

Room rentals, 47

Room tones, 85–86

Roulo, Karin, 424

Rózsa, Miklós, 464

Russell, Jane, 522

Russell, Kurt, 178, 258

Ryder Sound, 155, 489

Rydstrom, Gary, 263, 275

S

Safety, Foley and, 428–430

Sales, Leander, 149–150, 163–164, 165–166

Sample rate, 563

Samuel Goldwyn Theater, 20, 22

Sandrew, Barry, 510, 515

The Sands of Iwo Jima, 510

Saving Private Ryan, 275

Scene-Angle-Take information, 78

Scene/take reference data, 67

code book entry of, 145

time code/other, 45

Schedules

budget and, 372–373, 472–473

postproduction, 154, 171, 173–174

re-recording mixing, 485–487

Scheider, Roy, 168, 192, 193

Schell, Maurice, 165

Schoeps microphones, 73–74, 75, 76, 214, 215, 327

School Daze, 165

Schwarzenegger, Arnold, 475–476

Scorsese, Martin, 522

Screening, 54, 115, 116, 151, 167–169

Screenplay, 151, 152, 186

Script

breakdown, 211–213

budget and, 320

lined, 291

Scrubbing dialog track, 346

Seivers, Zach, 328, 487–488

Sennheiser MKH60 microphone, 73

Sennheiser 416 microphone, 94

Sensor-interactive technology, 503

Separation, sound cue, 299

Sequence sheets, dialog editing, 347–349

She, 521

Shock mount, 79

Shoes, Foley, 416

Shotgun microphones, 70, 71–72, 77, 80, 563

Show Boat, 403

Show kits, 336

Shugart, Joe, 161–163

Shure mixer, 321, 322–323

Sibilance, 563

Signal cancellation, 563

Signal conversion, 10 dB, 355

Signal process device, 272, 560

Signal processing, 363

Signal-to-noise ratio (SNR), 564

Sikorski, Joe, 189–190, 212, 404, 406

Silence, 21

Silent era, 403

Simpson, George, 177

Sine wave, 131, 564

Slate, 60, 61, 64, 564. See also Smart slate

Slate clap, 140, 146

Slate marker, 139

Slide shows (DVD), 569

Smart slate, 69, 77–78, 353, 564

Smith, Howard, 158–161

SMPTE, 564

Snow, 94–95, 428

Socket. See Jack plug/socket

Software

ADR, 381–387

Dolby encode, 501

nonlinear, 122

Nuendo postproduction, 450–458

Sonic Solutions, 346

Sound

accidental, 431

advent of optical, 403

audience acceptance of, 402–403

budgeting for, 34–36

clutter, 57

first, 403–404

layering, 252

library, 39

magnetic stripe, 13, 120, 127–128

metal, Foley and, 412

off-source, 87

over polishing, 272

palette, 336

photographed, 220

preservation, 507–509

preservation/restoration, 505–510

reality v. entertainment, 9

striping, 13

synchronous, early efforts at, 10

syncing, 139–147

worldizing, 272–277

Sound apprentice, 284

Sound Branch Academy, 19, 22

Sound cues, 16, 219, 223–224, 250

Foley, 28

numbering of, 219, 250

separation of, 299

Sound design, 252–278

American, 255

as art form, 24, 255, 318

Big Sound myth in, 254–255

explosions and, 269–270

illusion and, 278

legacy of, 255–256

misinformation and, 257–258

mixing and, 339–341

sound designers on, 261–169

special effects and, 256–257

subtlety in, 270

worldizing/re-recording and, 272–277

Sound designer, 252–254, 277, 284–285

as mixer, 488

Sound Designer II software, 239

Sound Devices 7-Series, 100–101, 189

Sound director, 55

Sound editing

in 1960s, 9

low-budget strategies for, 328–331

spotting sessions and, 173–174

temp dubs and, 170

Sound Editing award, 22–23

Sound editor, 221–222. See also Sound designer; Supervising sound editor

first assistant, 283–284, 354

re-recording mixer blending with, 331–335

sound effects recorded by, 190–192

sound mixers and, 320–321

Sound editorial, 120, 279–317

crew, 280–287

cut list development in, 293–294

Foley effects in, 286–287

low-budget strategies for, 318–344

mixing and, 282

organization and, 317

picture cues in, 313–317

preparation techniques in, 294–317

sound effects and, 285

strategy involved in, 287–288

turn-over process in, 288

Sound effects, 285, 336. See also Custom recording; Foley; Foley stage

access drive for, 449

career in, 189

contract for, anecdote, 39

custom Foley, 433

custom recording, 181–217

drive management of, 449

explosion, 206–210, 269–270

Foley, 419

historical, 222–223

for hydrogen jet car, 49

illusion and, 210, 211, 278

inventory databases for, 243–247

mastering, 230–237

microphones for, 200, 202

mixers and, 41

music score and, 460–462, 471

overprocessing, 230

P-FX preparation, 358–359

picture editing and, 158, 160

prerecorded, 9

sound library of, 218–219

specialists in, 186, 188–190

stinging, 461–462

storage of, 218–219

temp dubs and, 170, 175

transferring, 219

unions and, 191

worldizing, 274–277

Sound effects editors, 285–286, 293

Sound librarian, 222–223

being own, 218

Sound libraries, 39, 218–251, 337

audio CD, 308–309

audio file protocol and, 237–239

catalog databases for, 247–250

CD-ROM/DVD-R technology and, 226–228

DAT technology and, 224–226

inventory databases for, 243–247

mixed-medium synchronous mastering for, 240–243

multichannel mastering for, 239–241

sound effects mastering and, 230–237

storage mediums in, 218–219, 226–228

upgrading, 96 kHz/24-Bit, 250–251

Sound library system, 222–224

Sound mixer, 57–58, 64, 272

notes of, 65–69

original material in possession of, 63

sound editor and, 320–321

supervising sound editor and, 320–321

Sound Mixing award, 23–24

Sound One, 14

Sound report, 65–66, 67–69, 114

Sound stages, 144

Sound transfer, breaking down, 140

Sound utility. See Cable man

Sound-editorial budget, 47–50

Sound-Effects Editing Award Rules Committee, 20

Sound-on-sound projectors, 13

Soundtrack. See also Production track

direct-to-picture, 403

final, success/failure of, 25, 288

lowering levels of, 21

misunderstanding of, 255

temporary, 288

Soundtrack formats, 494–496

Soviet Union, 467

Sparticus, 404

Speakers

in digital workstation, 445

theatrical format for, 498–501

underwater, 277

Special effects

old-fashioned, 144

sound design for, 256–257

Specialists, 44, 293

custom recording/sound effect, 186, 188–190

vocal, 398–399

Spherical-audio, 504

Spiegel, Scott, 12, 13

Spielberg, Steven, 173, 183–185, 187, 190, 201

ADR accessibility in episode by, 361

Hall on, 470

Splet, Alan, 334–335

Splitting off tracks, 311–312

Spotting sessions, 173–180

dialog track and, 174

final soundtrack and, 173–174

music, 463, 471

notes during, 176–177

production track and, 174–175

Square wave, 131, 135, 564

SRT, 564

Stallone, Sylvester, 277

Stand by Me, 473

Star Wars, 255, 278

Starship Troopers, 49, 234, 295, 335

Start mark, 143

Stepper. See Foley artists

Stereo

dummy head, 556

M-S, 559

recording, 324–325, 327, 400

Stereo capsule microphones, 88, 89

Sting effects, 461–462

Stock

budgeting, 46, 51–52

mag-stripe, 13, 120, 127–128

Nagra IV-S, 526

for production mixer, 46, 50

transfer, 50–52

Stoker, Bram, 261

Stone, David, 171

on sound design, 261–263

Storage, sound library, 218–219, 226–228

Storr, Karola, 260

Storytelling, Foley and, 430

Stripe for Transfers line item, 50, 51

Subwoofers (baby booms), 499

Super 8-mm, 13

Supercardioid microphone, 70, 71–72

Supervising Foley editor, 417–419

Supervising sound editor, 20, 23, 176, 279, 281–283, 564

custom recording and, 186, 218

cut lists of, 293–294

dialog editing and, 346–347

labor requirements/budget issues and, 283

not listening to, 28

as re-recording mixer, 338–341

role of, 331–333

sound mixers and, 320–321

spotting session notes of, 176–177

Surround speakers, 500

Sweet, Ken, 181, 252–253, 361–362

Sync (synch), 5, 13, 87, 287, 290, 564

ADR/Looping in dialog, 365–401

eyeball, 10

Foley and, 287

jam, 558

looping technique for dialog, 365–368

OMF/Pro Tools, 121, 351

Sync generator, 564

Sync-block. See Synchronizer

Synchronization

frame, 134

time-code address, 134, 137

Synchronizer (sync-block), 132, 143, 163, 298, 565

Synchronous sound, 10

Syncing

dailies, 115, 116, 139–147

dialog, 352–353

filmmatic, 139–144, 352–353

Sync-to-picture approach, 405

Synth score, 464

Syriana (Warner Bros.), 110

T

Tail pops, 292–293

Talkies, 403

Talvisota: The Winter War, 26, 57, 94–95, 254–255

Tamiroff, Akim, 274

Tapert, Rob, 11, 14

Teams

custom recording in, 203

in low-budget strategies, 338–339

Teamwork, 82, 262, 422–423

re-recording, 485–487

Technical disciplines, 3, 32, 44, 63, 144

Technicians, craftsperson v., 45

Technicolor Weddington, 129

Technology, 34, 63. See also Audio technologies; Digital technology; Nonlinear systems

Blu-Ray, 226

colorization, 509–524

DAT, 224–226

digital, 34, 63, 154–155, 290, 555

magnetic stripe, 155

MR8/MR16, 137

nonlinear, 156, 157, 159, 202, 290, 372

old, 138

optical track, 220, 221

relying on, 262

sensor-interactive, 503

supervising sound editor's role and, 333

Telecine transfers, 123, 290

Television

film conversion to, 134

Foley and, 420–422

home, 421

language restrictions on, 375–376

reality, 163

time code and, 132

VITC in, 136

Temp dubs, 36–38, 159, 169–172, 464

budget for, 49, 52, 53

sound effects and, 170, 175

Temp mix, 174

Tempest, 360

Ten-Ten cue technique, 313

Terror Tract, 63

Test screening, 167–169

Thatching, 299, 300

THD (total harmonic distortion), 565

Theater Sound Inspection Committee, 23–24

Theatrical format, 498–501

Them, 256

The Thing, 27, 170, 178, 252, 298

Foley for, 423, 430, 432

supervising sound editor's position and, 331–333

vocalizations for, 257–258

Third man. See Cable man

Three Stooges, 12

THX, 35

Time budget

for Foley stage, 52

screening, 54

Time code, 77, 78, 131–137, 550–551, 565

address, 133, 134–137

ADR use of, 369

audio signals for, 135, 353

digital recorders and, 102, 103

drop-frame, 136, 556

first, 132

mismatched, 131–132

rates, 135

scene/take reference data, 45

in sound report, 69

television and, 132

video transfer specifications of, 135–136

VITC, 566

Tisks, 357–358

Tone generator, 322–323

Tonemeister, 16

Tones folder, 447–448

Tools, art form v., 155

Topic-Roll-Cue System, 223

Topper, 510

Total immersion, 502–505

A Touch of Evil, 272, 274

Trans-Am, 43

Transducer, 565

Transducer microphone, 75

Transfer bay, 565

Transfer department, 67, 69

Transfer engineer, 352–353, 354

Transfers, 49

35-mm, 137

ADR, 354

analog, 128, 137

budgeting, 50–52

custom recording, 219, 251

dialog editing techniques for, 353–354

digital, 129

drop-frame, 136

magnetic film, 54

picture editorial, 44–45, 115, 120, 121

protocol, 114–126

sound preservation and, 507

stock purchase and, 50–52

telecine v. digitized, 123, 290

video, 45, 135–136, 289, 290

Transparency, 361–362, 439

Transport drive. See Layback drive

Transylvania 6–5000, 36

Triangle law, 35, 319

Troutman, Clancy, 330–331

Troutman, Jim, 168, 187, 330, 489

Trumbo, Dalton, 156

Turner, Ted, 512

20th Century Fox, 265

Twilight Zone: The Motion Picture, 182, 361, 471

Tyrannosaurus rex CGI, 169

U

Uher model 1000 ¼” tape deck, 9–10

Unions, sound effects and, 191

Unit production managers (UPM), 40

Universal Studios, 403

V

Van Cleef, Lee, 271

Vari-speed projector, 13

Varney, Bill, 21

Vaughn, Robert, 256, 257

Vehicle sounds

custom recording, 192–203, 310

cutting, 309–311

mechanicals and, 194–195

Verhoeven, Paul, 466

Video

cutting nonlinear from, 123–125

phantom power and, 322

pop, 292

shot on, 123–125

transfers, 45, 135–136, 289, 290

Video cameras, 322

Video dupes, 289–291

Visual memory, 157

VITC (vertical interval time code), 136, 566

Vocal specialists, 398–399

VoiceQ, 383–387

Volume, distortion v., 17–18

Volume graphing, equalizing and, 363–364, 312–313

VU meter, 18, 129, 130, 208, 566

W

Walt Disney Studios, 138

Walters, Barbara, 84–85

War of the Worlds, 189, 190, 201, 256, 374

Wardrobe, microphones and, 85

Washington Post newsroom set, 92

Water pit, Foley stage, 410, 411

Watt, 566

Wavelength, 566

Wayne, John, 510

Weapons

custom recording, 181–185

in sound recording, 83

WW II, 183–185

Weather, 25

Webb, Jim, 91, 92–94

A Wedding, 91, 92

Weddington Productions, 218, 219, 225

Weddington Sound Effects Library, 247–248

Weitzman, Bernie, 513

Welles, Orson, 272, 274

Wells, Vernon, 202

Whip Pan techniques, 307–308

Whittaker, David, 277–278, 279

Wild tracks, 43, 85–86, 329

talking during, 213

Williams, John, 462

Williams, Robin, 362

Wilson, Stuart, 111–113

Wind screen, 79–80, 94

Wink-outs, 88, 327

Winterbottom, Michael, 112

Wipe Cue technique, 313

Wireless transmitter, 80–81

Wise, Robert, 189–190, 256, 402

Foley and, 406

Wolfgang, Erich, 459

Wolfman, Ed, 16

Workprint, 118, 120, 139–142

Workstation, 47

digital, 440–458

transfer exports, 49

World War II weapons, 183–185

Worldizing, 272–277

Wow, 566

WT. See Wild tracks

Wyler, William, 148

X

X-DIA tracks, 355–357

Xena, 16

XLR, 566

X-Y pattern, 87, 566

Y

Yapp, Jeff, 516

Z

Zaxcom, 100

Zaxcom Deva V, 95–100

Zelniker, Mel, 14–15

Zeppelin wind screen, 79–80

Zip drips, 431–432