A/B reels, 335
from editorial reels, 40
EDLs of, 67
A-frame cycle, 336
and Avid, 35
in negative cutting, 16
A/R (Add/Replace ADR) cue sheet entry, 258
AAF. See Advanced Authoring Format
Abbreviations
for characters, 258
for shot types, 206
Acres, Birt, 6
Actors
background voices of, 249
lists of, 51
replacement lines for, 248
scripts for, 259–260
Adding material
in ADR, 248–249
for conformations, 244–245
ADL. See Audio decision lists
ADR (automated dialogue replacement), 14
actors in, 265–267
adding lines in, 248–249
benefits of, 249–250
cue (call) sheets, 255–257, 336
defined, 335
detailed spotting for, 254
directors and, 267
editing, 279–280
file names for, 268–269
group loop. See Group loop
initial spotting for, 253–254
overview, 330–331
paperwork for, 255–264
in post sync, 251
preparing, 272–273
recording engineers for, 267
recording logs for, 256, 261, 336
recording session for, 264–269
region naming in, 287–288
replacement lines in, 247–248
scheduling, 252
scripts for, 259–260
spotting sessions, 336
studio technology for, 264–265
take combining for, 275–279
take recording in, 267–268
take selection for, 273–275
tools for, 280–285
track preparation for, 269–272
for TV productions, 254–255
word fitting in, 284–286
ADR engineers, 45
ADR supervisors
vs. dialogue editors, 98
Advanced Authoring Format (AAF), 56
AES. See Audio Engineering Society Standards
AES31 ADLs, 335
purpose, 63
Airplane versions of dialogue, 321
ALE. See Avid Log Exchange files
Alexandrov, Grigori, 8
Alternate takes, 202–203
for acting repair, 218
choosing, 210–213
defined, 336
finding, 203–210
overlaps in, 216–218
for room tone, 153
speed changes in, 207, 213–215
for wind distortion, 218–219
Alternate mixes, for TV and airplane versions, 321
Ambiances vs. room tone, 148
Ambient noise, 220
complexity of, 229
overprocessing, 229
plans for reducing, 223–229
preparation for processing, 221
role of supervising sound editor and mixer for reducing, 220–221
tools for reducing, 221–223
Analogue-to-digital-to-analogue (A/D/A) converters, 22, 71, 115
Angles for alternate takes, 207
Answer prints, 336
first answer print, 14
in mix preparation, 304–306
resyncing to, 305–306
Apprentices, 44
Assemblies, 336
automated. See Auto-assembly
in picture editing, 38
Assistant sound editors, 44, 47–49
Atmospheres vs. room tone, 148
Attack, 170
Attenuation, in crossfades, 185
Attitude, in alternate takes, 207
Audio decision lists (ADLs), 335
purpose, 63
Audio EDLs. See EDLs
Audio Engineering Society (AES) standards, 55
AudioSuite plug-ins in
In ADR editing, 281
for ambient noise, 221
for reference tones, 119
Auto-assembly, 20
autoconforming from files, 74–75
for conformations, 244
defined, 336
EDLs for, 36
from hard-disk recorders, 74–75
merging channels, 76
in nonlinear editing, 54–56
set-up, 70–72
step-by-step process, 72–74
tools for, 245–246
Autoconform. See Auto-assembly
Automated dialogue replacement. See ADR
Automating ADR paperwork, 262–264
Avid brand of video workstation
bins in, 37–38
change notes from, 240–241
EDL Manager program, 65–68
with OMF, 55–58
syncing shots in, 36
Avid Log Exchange (ALE) files, 35–36, 336
AX (AUXILLARY) source, 62
B-roll material, 336
for documentaries, 294–295
Background
vs. room tone, 148
sound effects, 44
Background voices, adding lines for, 249
Backups
for ADR, 269
for alternate takes, 209
in mix preparation, 309–310
overview, 85–86
Balancing shots, 137–142
noise and smoothness tradeoffs in, 144
room tone source minimization for, 142–143
scene design for, 144–145
transition handles in, 145–146
Barroom chatter, 288
Batch digitizing, 336
defined, 344
for guide tracks, 237
Biased recording, 9
Bins, 336
Avid, 37–38
Bird chirping noise, 228
BITC (burnt-in timecode), 81–84
Blimps, 9
BNR processor, 222
Body mic crackle, 200
Bouly, Leon, 6
Bounce to Disk option, 238
Breaths
dividing text at, 259
in documentaries, 296
Broadband noise reduction, 227–228
Broadband processors, 222
Broadcast extension chunk, 77–78
Broadcast wave format. See BWF files
Budgets, 92
Bumps
in documentaries, 300
from room tone changes, 148
Buzz
background, 288
removing, 223–224
BWF (broadcast wave format) files, 337
from Cantar, 61
components, 77–78
in picture editing, 36
Cadence
in alternate takes, 211
in documentaries, 298–299
making, 117–118
for monitor chain alignment, 118–119
Call cue sheet entry (ADR), 258
Call lists (ADR), 252–256
Callouts (in group loop), 289
Cantar hard-disk recorders, 61, 78
Center frequency of noise, 223–224
Change List Tool, 240–241
Change Note Assistant, 245
Change notes for conformations, 239–242, 337
Changeovers, 337
checking, 40
sound in, 52
Changes
on first and last reels, 99–100
in room tone, 153–154
scene, 114
and session size, 111
Channels, 337
mapping, 72
merging, 76
Characters
on ADR cue sheets, 258
focus on, 177
lists of, 51
tracks for, 130
Cinématographe, 6
Clicks
mouth, 194–196
removing, 224–227
room tone for removing, 155–156
short, 197–199
sources of, 194
Clip names for regions, 68
Clothing rustle, 192, 195, 200
CMX controllers, 337
CMX-200 editor, 53
CMX-600 editor, 53–54
CMX3600 EDL, 59–63
Codes for ADR cue sheet entry, 258
Combining takes
for ADR, 275–279
for alternate takes, 211
Comments, 337
for metadata, 79
Completion workflow, in picture editing, 40
in auto-assembly, 73–75
automated, 245–246
change notes for, 240–242
manual, 242–245
Consolidated regions, for room tone, 151–153
Consonants
in alternate takes, 212
in documentaries, 299
Contact lists, 52
Contingencies, in schedules, 95
Copying
auto-assemblies, 105
Coverage, 337
lined scripts for, 51
of off-mic shots, 247
on script reports, 132
Crackle
mic, 200
removing, 224–227
Cranes, as noise source, 191, 202
Crew, as noise source, 189, 192
Crosland, Alan, 8
Cross-modulation tests, 338
Crossfade linking control, 338
Crossfades, 337
choosing correct, 181–185
dialogue in, 160
for noise repair, 155–156, 197
for perspective cuts, 183–185
from PFX to dialogue, 234
and room tones, 142–143, 152–153
for transition smoothness, 144
Cue sheets, 338
for ADR, 255–257
in mix preparation, 307–309
Cues
in ADR, 275
for alternate takes, 206
Cut lists, 338
for negative cutters, 40
Cutaways, 338
in documentaries, 294
Cutting room relationships, 47–50
Daily goals
schedules, 95–96
setting, 92–96
Damage repair for noise. See Noises
Data entry pages, for ADR, 262–263
DAT (Digital Audio Tape) recording
in NTSC workflows, 20–24
in PAL workflows, 25–28
DAWs. See Digital audio workstations
De-clickers, 200–202
De Forest, Lee, 7
DeClick plug-in, 200
DeCrackle plug-in, 200
Deep-cut filters, 224
Demeny, Georges, 7
DeNoise processor, 222
Dental work, as noise source, 193–194
Depth, 175
achieving, 175–176
and mix process, 176–177
Destructive processes, 86, 338
Detailed spotting, 254
Dialogue supervisors and editors, 45
Dickson, W. K. L., 7
DigiDelivery service, 57
Digital audio workstations (DAWs), 10, 338
Digital tracking, as noise source, 193
Digitization, in picture editing, 33–37
DigiTranslator utility, 338
Directors
and ADR, 267
meetings with, 87–88
Disk recorders, 24
alternate takes with, 208–210
autoconforming files from, 74–75
metadata from, 77–80
NTSC workflows, 22–24
Distortion repair, 201
Documentaries, 293
cadence and voice matching in, 298–299
challenges in, 293–294
organizing tracks, 294–295
scene and narration editing, 295–296
sound effects in, 300–301
talking heads and voiceovers in, 296–298
terminal sounds in, 299–300
Dolby noise reduction, 10
Dolby SR, 338
Lt/Rt print masters, 320
Dolly noises, 88, 191, 202, 219
Don Juan, 8
Double system, 338
in early sound, 7
PAL workflows, 25
Double-voicing, 170
Drop-frame timecode, 18
Dropouts, 192
Dual mono tracks, 339
working with, 111–114
Dubbers, 339
operation of, 307
DupeList/Preread section (EDL Manager), 65–66
DVDs for backups, 310
EBU. See European Broadcasting Union
Edge numbering, 9
Edison, Thomas, 5–7
Edit decision lists. See EDLs
Edit groups, 339
EditDroid editor, 54
Editing workspace. See Workspace setup
Editorial reels, 40
EdiTrace utility, 245
EDL Manager program, 65–68
EDLs (edit decision lists), 17, 59
for alternate takes, 205
for autoconforming, 36
components of, 59–63
defined, 339
finding end of shots, 63
importing, 72
need for, 51
NTSC and, 20
printing, 63–64
saving, 70
Eisenstein, Sergei, 8
Electrical clicks, 192, 195–199
Electronics, as noise source, 189
Embedded files, 57
Emotional separation, perspective for, 178–179
End of shots, finding, 63–64
EQ RTAS plug-in, 112–113
Estimating editing time, 96–100
Ethical restrictions, for documentaries, 294
European Broadcasting Union (EBU), 339
25 fps timecode, 30
nonlinear editing standards, 55
Evenness, in shot balancing, 140
Events
for alternate takes, 205
EDL, 59–63
Excitement, sounds for, 171
Exhibition prints, 339
Exporting OMF from Avid, 56–58
Fairlight MFX, 246
Fast Fourier Transform (FFT), 223–224, 228
FFOA. See First frame of action
File formats, for ADR, 265
File names
for ADR, 268–269
guidelines, 84–85
for room tone, 152
Files, backing up, 85–86
Film lab process, 13
Film Log EDL Exchange (FLEx) file protocol, 339
in negative cutting, 16
in telecine process, 35–36
Film shoot and edit, workflow, 11–15
Filters
in monitoring, 102
for noise reduction, 218, 222, 224
Final Cut Pro (FCP)
and metadata, 78
OMF preparation in, 57
Final mix, 339
workflow, 318–321
Final editing pass, overview, 332
Finding
alternate takes, 203–210
end of shots, 63–64
noises, 189
wild sounds, 123–126
FireWire drives for backups, 310
First answer prints, 339
working with, 14
First assembly in picture editing, 38
First frame of action (FFOA), 339
leaders, 121
sync pops, relation to, 119–120
First editing pass, overview, 330
First reels, special issues 99–100
Fish pole noises, 192
Fix Sync utility, 104
FLEx. See Film Log EDL Exchange file Protocol
Focus control, replacement lines for, 248
Focus groups, 339
influence of, 39
Focus on one character, 177
Foley editors, 46
Foley effects, 339
Foley notes for noisy PFX, 236
Foley supervisors, 45–46
Foley walkers and engineers, 46
Footsteps, as noise, 190–191
Foreground from background mixing, 316
Formants, 280
Frame lines, 82
Frequency response, 9
Fundamental frequency, 340
of noise, 223–224
Gain AudioSuite processor, 201
Genlock, 340
Global replacements in EDLs, 69
Goals
premix, 311–312
schedules, 95–96
setting, 92–96
adding lines for, 249
defined, 340
editing, 290
guide tracks for, 237
ordering, 290–291
in replacement lines, 248
specific, 289
track layout for, 291
walla, 288–289
in ADR, 269
defined, 340
importance of, 237
making, 237–238
Haas effect, 105
Hallelujah, 9
Handles, 340
in auto-assembly, 72
in shot balancing, 145–146
Hard-disk recorders
alternate takes with, 208–210
autoconforming files from, 74–75
metadata from, 77–80
in NTSC workflows, 22–24
Harmonics, 340
HD. See High definition
Head plops. See also Sync pops
for 25 fps projects, 120
for guide tracks, 237
Headers on EDL pages, 64
Headroom, 340
in multitrack editing, 159
Hearing memory, 143
High definition (HD), 31–32
High-pass filters, 218
History, 5–7
early sound, 7–8
formats and processes, 10–15
modern era, 9–10
nonlinear editing, 53–56
talkies, 8–9
Hum removal, 223–224
Human noises, 193–195
Importing, 327
EDLs, 72
Inflections, dividing text at, 259
Initial spotting, for ADR, 253–254
Inserts, unnecessary, 134
International mix (M&E), 320
defined, 342
PFX for, 233–234
Interpolation processes
for ambient noise removal, 222
for click and crackle reduction, 224–227
for noise repair, 200
Intonation, in ADR editing, 280–281
Jazz Singer, 8
Junk tracks, 107–109
Key numbers, in negative cutting, 14
KeyKode, 340
in Code Book, 13
in picture editing, 34–35
Kinetoscope, 6
Kudelski, Stefan, 9
La sortie des ouvriers de l’usine Lumière à Lyon, 6
Labeling tracks, 107
Landmarks
in alternate takes, 212
logs of, 305
in schedules, 95
Languages, in Walla, 289
Last frame of action (LFOA), 341
sync pops for, 120
Last reels, importance of 99–100
Latencies, 340
of noise-reduction plug-ins, 221
Lauste, Eugene Augustin, 7
Laws for film language, 321
Layback, 341
LCRS (left, center, right and [mono] surround), 341
Le Prince, Augustin, 6
Leaders, 341
SMPTE vs. Academy, 121
Length adjustment
in ADR editing, 281–284
in alternate takes, 212
Level automation, 328–329
LFOA. See Last frame of action
Liaisons, 341
handling, 300
Line changes, 248
Lined scripts, 341
benefits of, 132
need for, 51
Lip flap, 341
dealing with, 194
Lip readers, 289
Listening guidelines, 88–90
Location information, for ADR, 262
Locked picture, 341
need for, 50
Locking tracks, 103
Logs
of landmarks for resynching, 305
rerecording, 307–309
Longitudinal timecode (LTC), 342
overview, 81
Loops
and ADR, 247
background, 250
group. See Group loop
Low-frequency (LF) cutoff, 228
LTC. See Longitudinal timecode
Lumière, Antoine, 6
Lumière, Auguste and Louis, 6
Magnetic recording, 9
Mains frequency, 342
as reference, 13
Majix program, 78
Manual conformations, 242–245
Marking scenes, 114–116
Master videotape, 17
Matching
cadence and voice, 298–299
room tone and dialogue, 145–146, 154–155
M&E mix, 320
defined, 342
PFX for, 233–234
Media Exchange Format (MXF), 56
Memory markers, for documentaries, 295
Merging channels, 76
Metadata, 76–77
BWF files, 77–78
defined, 342
disk-recorded files, 77–80
location mixer, 22
for material organization, 38
MetaFlow program, 78
Mezzo backup utility, 86
Microphones
for ADR, 262
in multitrack editing, 159
Missing mouth noises, 194
Mix preparation, 303–304
answer prints in, 304–306
cue sheets in, 307–309
packaging and backup in, 309–310
final mix, 318–321
mixer relationships, 312–314
premix approval, 318
premix, forgoing, 317–318
premix goals, 311–312
premix planning, 314–315
premix, recording, 315–317
Mixers
and ambient noise reduction, 220–221
and depth enhancement, 176–177
and noise processing, 229–231
relationships with, 312–314
Momentary background noises, 187
Monitor chain, 101–102
reference tones for, 118–119
Mono dialogue sound, 173–174
Mono regions, unnecessary, 111–114
Montage, 8
Montage Picture Processor, 53–54
Motion picture systems, history, 6
Mouth smacks and clicks, 194
Moviemaking process, 15–17
Moving camera noises, 88
Moviola, 9
Multiband EQs, 224
Multicamera studio recording, 138
Multitrack editing, 156–157
benefits, 167–168
boom on track 1, radios on track 2—similar sound, 161
one mic per channel—dissimilar (and loud) room tone, 163–166
one shot, two mics, dissimilar room tone, 161–163
one shot, two mics, similar room tone—dialogue overlaps, 161–162
one shot, two mics, similar room tone—no dialogue overlaps, 159–161
planning for, 168–169
summary, 167
track selection in, 157–159, 166–167
Music editors, 46
Music, in picture editing, 40
MXF. See Media Exchange Format
Names
ADR regions, 287–288
assemblies, 38
plans, 327
scene markers, 115
session, 84–85
shots, 132
tracks, 107
Narration
ADR lines for, 248–249
in documentaries, 294–296
Negative cutters, 342
Negative cutting process, 14
overview, 16–17
in picture editing, 34
Negotiating time and fees, 98
Neo-Pilot sync system, 9
Noises, 187–188
alternate takes for. See Alternate takes
ambient. See Ambient noise
evaluating, 190–195
finding, 189
fixing, 195–202
focusing on, 189–190
listening for, 88–90
in multitrack editing, 165
PFX and, 236
processing, 229–231
replacement lines for, 247
scene design for, 145
in shot balancing, 139–142
smoothness tradeoffs with, 144
sources of, 188–189
Noisy scenes, ADR in, 285, 287
Nonlinear editing, 53
CMX-600 and Montage, 53–54
history, 54–56
Nonlinear video players, 84
NoNOISE suite, 200
NTSC (National Television Standards Committee) standard, 16–17
defined, 342
drop-frame vs. non-drop-frame SMPTE timecode, 18
high definition, 31–32
picture editing. See Picture editing
shoot film, record sound on tape, edit picture and sound workflow, 20–22
shoot film or tape, record sound on hard disk, edit workflow, 22–24
single-system production and editing workflow, 18–20
Nudge value, 342
for OMF syncing, 104
Off-screen smacks, 194
OMF-1 and OMF-2 standards, 55–56
OMF (Open Media Framework) files, 18
from bins, 38–39
conversion steps, 326
defined, 342
evaluating, 49
exporting from Avid, 56–58
introduction of, 55–56
need for, 51
in nonlinear editing, 54–56
spotting sessions, 87–90
workspace setup for, 106–107
One light transfers, 34, 342–343
Opening up tracks for conformations, 243–244
Optical cameras and recorders, 343
Optical soundtracks, 343
Optimizing EDLs, 67
Options page, in EDL Manager, 65–66
Ordering
conformation material, 244
group loop, 290–291
out of sequence editing, 99–100
in premix planning, 314
Organization
of documentaries, 294–295
in picture editing, 37–38
of regions, 329–330
of scenes, 131–133
Original recordings and sound reports, 51
Out of sequence editing, 99–100
Overlaps, 343
repairing with alternate takes, 216–218
in multitrack editing, 161–163
Packaging, in mix preparation, 309–310
PAL (phase alternating line) standard, 16–17, 24–25
defined, 343
head plops for, 120
high-definition workflows, 31–32
shoot film, record sound on hard-disk recorder, edit picture and sound workflow, 28–29
shoot film, record sound on tape, edit picture and sound workflow, 25, 27–28
shooting and posting at 25 fps, 28, 30
shooting film and recording sound for PAL TV, 30–31
single-system workflows, 25–26
Pan automation, 328
Panning dialogue, 174–175
Paperwork, for ADR, 255–264
Pauses in ADR, editing, 279
Perspective, 177–178
for emotional separation, 178–179
for physical distance, 179
replacement lines for, 248
for social isolation, 179–180
telephone splits, 180–182
Perspective cuts, 343
crossfades for, 183–185
PFX (production sound effects), 343
in mix recording, 317
noisy, 236
room tone for, 234–235
track splitting, 233–234
Phasing, in multitrack editing, 159
Phenakistoscope, 6
Phone splits, 2
correct crossfades, 181–185
defined, 343
working with, 180–182
Physical distance, perspective for, 179
Picture and sound sync references, in NTSC, 17, 20–22
Picture cutting room process, 13, 33–42
Picture department, working with, 47–48
auto-assembly, 70–76
EDLs and. See EDLs
exporting OMF from Avid, 56–58
materials needed from, 50–52
metadata, 76–80
nonlinear editing, 53–56
reel splitting, 52–53
Picture editing, 33
first assembly, 38
material organization, 37–38
screenings, recuts, completion, and music, 40
sound, 38–40
telecine and digitization, 33–37
wrap-up, 40–42
Picture start, 119–121
Pitch
in ADR editing, 280–281
in alternate takes, 207
in PAL print mastering, 30
in room tone, 153–154
Pixys video recorders, 84
Planning
multitrack editing, 168–169
premix, 314–315
Plops. See Sync pops
Plosives
in ADR, 275
in alternate takes, 212
Point of view (POV), 344
PostConform, 20
for auto-assembly, 74–75
defined, 344
spotting sessions, 87–90
Post-lock changes. See Conformations
Postsynchronization (postsync), 247–252
ADR in, 251
introduction of, 9
Precedence effect, 105
Premix, 14–15
approval, 318
defined, 344
forgoing, 317–318
goals, 311–312
planning, 314–315
preparation, 332
recording, 315–317
Preparation steps, 325–330
Preroll, 344
for crossfades, 160
Principal actors, 344
background voices of, 249
Print masters, 15
creating, 319
defined, 344
Printing
EDLs, 64
wild sound logs, 126–128
Production FX. See PFX
Project timesheets, 92–93
Pro Tools (workstation brand)
for ADR editing, 264, 269, 278
for alternate takes, 204
for click noise removal, 197–199
for conformations, 242–243
fade control, 183–185
for recording guide tracks, 238
for marking scene changes, 115
making reference tones with, 118
for room tone editing, 151–153
shuffle mode, 108
Pudovkin, Vsevolod, 8
Pulldown process, 344
information for, 35
Pulldown Start Frame setting, 67
Pullup process, 344
Pyramix (workstation brand), 246
Quick turnaround projects, 96
Radio microphones
in multitrack editing, 159
overlaps, 161–163
Record channels, 61
Record end time, 61
Record In and Record Out columns, EDL, for alternate takes, 205
Recording
in ADR sessions, 264–269
ADR takes, 267–268
premix tracks, 315–317
Recording engineers, 267
Recording logs, for ADR, 256, 261
Recuts, in picture editing, 40
Reels
A/B, 67
editing, 345
editorial, 40
exhibition, 345
first and last, 99–100
splitting, 52–53
making, 117–118
for monitor chain alignment, 118–119
Reference, sync
in auto-assembly, 71
in high-definition workflows, 31
Regions
ADR names for, 287–288
clip names for, 68
OMF names for, 57–58
organizing, 329–330
removing unnecessary, 328
Relationships. See Picture department Relationships
Removing material in conformations, 242–243
Replacement lines, in ADR, 247–248
Rerecording dialogue. See ADR
Rerecording logs, 307–309
Rerecording mixer, 46
Retrospect utility, 86
Reverb, 176
Rhubarb, 288
Ringout, 170
Ripple mode, 345
Rippling tracks
for room tone editing, 151, 153
sync problems from, 108
Roles, dialogue editor, 3–4
alternate takes for, 153
vs. backgrounds and atmospheres, 148
creating, 149–153
defined, 345
finding, 148–149
in multicamera studio recording, 138
in multitrack editing. See Multitrack editing
for noise removal, 155–156, 195–197
overview, 147–148
for PFX, 234–235
pitch and volume changes in, 153–154
in shot balancing, 139–142, 146–147
minimizing duplicate, 142–143
in telephone splits, 181
in unnecessary cutaways, 135–136
wild sound for, 122
Rubbering, 9
Rumble removal, 223–224
Safety copies
for alternate takes, 203
for noise repair, 199
Saving
EDLs, 70
original line in alternate take editing, 212
strategies, 327
Scene by scene mixing, 316
Scenes, 113–114
boundary marks for, 114–116, 329
organized by shots, 131–133
shot balancing in, 144–145
splitting, 136–137
transition duration markers for, 114
Schedules
ADR, 252
preparing, 95–96
Screening films
benefits and purpose of, 91–92
in picture editing, 40
Screens, for wind distortion, 218
Scripts
for ADR, 259–260
Scrubbing, 345
for noise removal, 155
Sebsky Tools, 78
Second editing pass, 331–332
Scenes that make sense, 169–172
Sentences, dividing text at, 259
Sessions
ADR, 264–269
size of, 109–111
spotting, 87–90
Sharpness setting, for noise removal, 228
Shock mounts
wind distortion, 218
Shoot film, record sound on hard-disk recorder, edit picture and sound workflow
NTSC environment, 22–23
PAL environment, 28–29
Shoot film, record sound on tape, edit picture and sound workflow
NTSC environment, 20–22
Shoot film or tape, record sound on hard disk, edit workflow, 22–24
Shooting and posting at 25 fps workflow, 28, 30
Shooting dates, for scenes, 51
Shooting discontinuity, 2
Shooting film and recording sound, for PAL TV workflow, 30–31
Shots, 345
balancing. See Balancing shots
end of, 63
scene organization by, 131–133
sequences, 2
Show section, in EDL Manager, 66
Shuffle mode
for rippling tracks, 108
for room tone editing, 151
Sibilant sounds, in ADR editing, 280
Silence and room tone, 148–149
Silent pictures, 7–8
Single-system workflows, 345
NTSC environment, 18–20
PAL environment, 25–26
Size of sessions, 109–111
Slate naming system, 132
Smoothness
in multitrack editing, 165
noise tradeoffs with, 144
SMPTE (Society of Motion Picture and Television Engineers), 345
leaders, 121
nonlinear editing standards, 55
SMPTE timecode
drop frame, 18
early predecessor, 53
non-drop frame, 18
Social isolation, perspective for, 179–180
Sound
in auto-assembly, 72–73
in picture editing, 38–40
“Sound and Image,” 8
Sound bumps
in documentaries, 300
from room tone changes, 148
Sound department, 43
ADR engineers, 45
ADR supervisors and editors, 45
apprentices, 44
assistant sound editors, 44
dialogue supervisors and editors, 45
Foley editors, 46
Foley supervisors, 45–46
Foley walkers and engineers, 46
music editors, 46
rerecording mixers, 46
sound designers, 43–44
sound effects editors, 44
supervising sound editors, 43
Sound designers, 43–44
Sound edits, splitting tracks by, 133–134
Sound effects
in documentaries, 300–301
from picture edit, 235
process, 14
Sound effects editors, 44
Sound memory, 99
Sound recording, as noise source, 192–193
Sound reports, 345
for alternate takes, 205–206
need for, 51
for wild sound, 123–126
Sound rolls, 346
for organization, 36
soundBlade editor, 224
SoundDroid editor, 54
SoundMaster controller, 264
Source minimization, for room tone, 142–143
Source time, 346
in EDLs, 61
Sources
for alternate takes, 205
of noise, 188–189
Spacing in auto-assembly, 72
Special mixes, 319
SpectraFoo analyzer, 225
Speed changing techniques
in ADR editing, 281–284
in alternate takes, 207, 213–215
Speed Correction settings, 281
working with, 180–182
Splitting reels, 52–53
Splitting scenes, 136–137
Splitting tracks, 129–131
benefits of, 134
number of, 135–136
PFX and, 233
scene organization by shot, 131–133
by sound edits, 133–134
unnecessary inserts in, 134
Spotting, 346
Spotting sessions, 328
ADR, 336
detailed, 254
initial, 253–254
overview, 87–90
Spreadsheets, for noise reduction, 227
Stable free-running timecode generators, 24
Start cue sheet entry, 258
Steady-state noise problems, 187
Stems, 233 346
for final mix, 319
for print masters, 15
Stereo fields, 174
Stop consonants, in ADR, 275
Stop cue sheet entry, 258
Stops, in alternate takes, 212
Story details, adding lines for, 248–249
Streamers, 346
in ADR, 250
Strip Silence function, 151–152
Studio technology, for ADR, 264–265
Stupidity checks, 289
Supervising sound editors
consulting with for noise removal, 220–221
functions of, 43
SVA (Stereo Variable Area), 320. See also Lt/Rt
Swimming artifacts, 228
Switcher setting, 67
Sync block counters, 63
defined, 344
for guide tracks, 237
Synchronization (sync), 17, 102–103
of alternate takes, 211–212, 215–216
in answer prints, 304–306
auto-assemblies, 104–105
autoconform, 328
in Avid, 36
with nonlinear video players, 84
OMF, 104
overview, 327–328
talkies, 9
Vitaphone, 7
Tail sync pops, for guide tracks, 237
Takes
alternate. See Alternate takes
combining, 275–279
recording, 267–268
selecting, 273–275
Taker controller, 264
Talkies, 8–9
Talking heads, 346
in documentaries, 296–298
Tapename Truncation, setting, 67
Technical problems, replacement lines for, 247
Telecine device, 346
in picture editing, 33–37
transfer process, 15–17
working with, 180–182
Temp mix, 346
Temp music, 346
in picture editing, 38
Templates
for sessions, 109–110
for tracks, 333–334
Temporary sound effects, 38–40, 235
Terminal sounds, in documentaries, 299–300
Testing, in auto-assembly, 73–74
Text cue sheet entry, 258–259
Text-only EDL files, 70
Threshold setting, for noise removal, 228
Time management, 91
daily goals, 92–96
editing estimates, 96–100
schedules, 95–96
screening, 91–92
Time stretching and compression
in ADR editing, 281–283
for alternate takes, 213–214
in documentaries, 299
Timecode/footage calculators, 305
Timecode
burn-ins, 81–84
drop-frame vs. non-drop-frame, 18
EBU, 25
TimeFlex utility, 281
TimeFx utility, 281
TimeLine Lynx controller, 70
Timesheets, 92–93
Timestretch utility, 281
Titan program
for conformations, 74–75, 78, 246
Fix Sync utility, 104
Titles, in EDLs, 59
Tone
alternate takes acting, 207
room. See Room tone
Tones, reference, 115, 117–119
Top and tail cues, 347
in ADR, 275
Tracking premix record tracks, 309
Tracks
for ADR, 269–272
for alternate takes, 208
group loop, 291
guide. See Guide tracks
junk, 107–109
labeling, 107
multitrack editing. See Multitrack editing
splitting. See Splitting tracks
template for, 333–334
Transcripts, for documentaries, 298
Transient noises, room tone for, 155
Transitions
crossfades for, 144
in EDLs, 61
in shot balancing, 145–146
Tri-Ergon sound-on-film system, 7
TV productions, ADR for, 254–255
TV dialogue versions, 321
25 fps projects, head plops for, 120
2:4:2 print master format, 320
Two-microphone scenes
multitrack recording for, 168
overlaps in, 161–163
Utility frequency, 342
as reference, 13
V-Cube video recorder, 84
Verite scenes, in documentaries, 295
Video EDLs, 51
Vidor, King, 9
Viewers, sound memory of, 99
Virtual Katy utility, 245
Virtual VTR player, 84
Vitaphone, 7–8
VITC (vertical interval timecode), 347
for FLEx files, 35
purpose of, 81–82
VocALign tool
for alternate takes, 213–214
using on noisy scenes, 287
for word fitting, 284–286
Voice matching, in documentaries, 298–299
Voice quality, replacement lines for, 248
Voiceovers
in documentaries, 294, 296–298
vs. narration, 347
Volume changes, in room tone, 153–154
Volume leveling, 231
Vowels
in ADR editing, 279–280
in documentaries, 299
Vox pop documentaries, 298, 347
Walla, 288–289
WAVE (.wav) files, 77
Waveform cycles for room tone, 197
Waves PAZ Frequency Analyzer, 226
Wild sound, 122
defined, 347
finding, 123–126
paperwork for, 51
in picture editing, 39
printouts of log, 126–128
Wind distortion
alternate takes for, 218–219
removing, 193
Window dub, 81
Word editing, in ADR, 279–280
Word fitting
in ADR, 284–286
for alternate takes, 214
Wordfit program, 284
Workprints, 40
Workspace setup, 105–106
labeling tracks, 107 for
OMF, 106–107
session size in, 109–111
steps in, 326–327
templates for, 109–110
work and junk tracks in, 107–109
Wrap-up, in picture editing, 40–42
X-Click plug-in, 200
X-Crackle plug-in, 200
X tracks, 347
in ADR, 270–271
Z-Noise processor, 222
Zeppelins, 347
as noise source, 247
for wind distortion, 218
Zero cuts, 62
Zero-latency plug-ins, 112–113
Zoetrope, 6–7