Acres, Birt 5
clothing 230
dental work 228
microphones 230
actor's script 290
ADL (AES31 audio decision list) 83, 360, 395
ADR (automated dialogue replacement) 21, 278, 280–2, 396
initial spotting 284
matching to production sound 320–2
replacing what cannot be fixed 278–80
TV versions of feature film 285
ADR call list (ADR cue sheet) 286, 287–9, 300, 396
ADR editing
breaths 316
choosing takes 305
noise scenes 316
ADR mixer 56
ADR recording session 294
file names 300
improvise 296
matching ADR to production sound 320–2
number of channels 297
preparing dialogue tracks for editing 300–3
Rhythmo band 295
talent, recording engineer, director 297–9
ADR spotting session 284–5, 396
ADR supervisor (ADR editor) 55, 282
ADR/production sound matching 320
distortion 322
dynamics 322
electronics 320
microphone 320
performance 320
reverb 321
synthetic reverb processors 321
Advanced Authoring Format (AAF) 75
see also OMF/AAF
ALE (Avid Log Exchange) file 396
Alexandrov, Grigori 10
check sound reports 247
combine parts of several takes 252
dolly noise 260
filenames don't make sense 247–9
fixing the acting 258
removing shock mount noise 259–60
removing wind distortion 258–9
save original line 253
search by filename 244
search using EDLs 245
ambient noise (noise) 221
complexity 274
assembly (from original recordings) 29, 90–1, 396–7
assembly (picture editing) 61, 73
assistant camera 38
assistant picture editor 64, 65–6
assistant sound editor 54
audio EDL 69
Audio Engineering Society (AES) 74
auto-assembly/autoconform 118–20, 397
Avid Media Composer, TC insert 108–9
Avid Technology and OMF 74, 75
batch digitizing 397
Batman Returns (1992) 14
best boy electrical 39
blimp 12
boom operator 41
Bouly, Léon 5
broadband noise suppression 264–5, 272–4
broadband processors 267
BWF (broadcast wave format) 360, 397
cable person (or sound utility) 42
callouts 318
classic dialogue mix model 370–2
film shoot 18
sound effects and ADR 21
classic noise reduction plan 268
click/crackle 272
claw 398
CMX-200 73
CMX 3600 68, 80–3, 245–6, 287, 398
Code Book 21
color timing (or grading) 21–2, 398
conformation see reconform
container see wrapper
Crosby, Bing 13
Crosland, Alan 11
cross-modulation test (cross-mod) 399
cue sheet (recording log) 399
cut list 399
DAW (digital audio workstation) 15, 72–5, 98–9, 101–2, 373, 399
DCP see digital cinema package
De Forest, Lee 10
Demeny, Georges 7
depth 200
destructive editorial processes 94, 399
dialogue supervisor (dialogue editor) 55
Dickson, W.K.L. 7
digital cinema initiatives 14–15, 17, 33, 35–6, 46, 103, 357, 399
digital cinema package (DCP) 22, 35, 71, 132, 133, 357, 380, 399
digital intermediate (DI) 28, 398, 400
digital picture/audio workstation history 72
AAF/MXF 75
birth of nonlinear workstations for film 72–5
director of photography (DP or DoP) 38
documentaries 333
cutting scenes/narration 336–7
production sound effects 341–2
talking heads/voiceovers 337
track templates 336
Don Juan (1926) 11
drop-frame timecode 30
edge numbering (or rubbering) 12, 344
Edison, Thomas 4
editing 62
deciding which tracks to use 175–7
eliminating redundant regions 125–8
estimate length of time taken 329–32
goals 140
making sense of a scene 187–93
relationship with picture department 65–7
responsibilities 1
role in subterfuge of moviemaking 2–3
two acceptable tracks 186
use structure of language 150–2
working with many channels of dialogue 174–87
see also dialogue editing
EDL (edit decision list) 29, 79–80, 400–1
finding correct EDL 245
finding the end of a shot 84
fixing comments with word processor 86–7
getting right names into your clips 85–6
searching 245
Eisenstein, Sergei 10
electricians 39
electronic news gathering (ENG) 23
European Broadcasting Union (EBU) 74, 400
FCM (frame count mode) 82
FCP XML 347
FFOA (first frame of action) 401
editing templates 123
leaders 133
sync pop 132
specification sheet 68
file translation programs 359–63
file-linking programs 79
ADR 300
searching 244
film projection 133
film shoot 18
film sound 365
film/video hybrid model 17, 24, 26
negative cutting in hybrid world 26–8
negative cutting new way 28
negative cutting old way 28
shoot film (24 fps), record sound on hard disk recorder, edit picture/sound in NTSC 29–30
shoot film (24 fps) or tape, record sound on hard disk recorder, edit in PAL 33
working in NTSC environment 29
first answer print 21, 396, 401
first frame of action (FFOA) 132
FLEx (Film Log EDL Exchange) file 27, 401
focus puller 39
editors 56
supervisor 56
Foley walker/Foley recording engineer 56
French Academy of Sciences 8
fundamental frequency 268, 402
gaffer 39
genlock 402
ADR/track layout 319
callouts 318
specific 318
group of pictures (GOP) 105–7, 402
Guy-Blaché, Alice 8
Hallelujah! (1929) 12
harmonic 236, 241, 260, 262, 267, 268, 402–3
I frame (or key frame) 105, 402, 403
imaging, dialogue in the soundscape 198–200
impulsive noises (transient noises) 236–7, 403
interframe compression 105, 403
interpolation processors 267
intonation 309
intraframe compression 105, 403
Jurassic Park (1992) 14
key frame see I frame
key numbers 21 Kinetoscope 5
Kudelski, Stefan 13
Last Action Hero (1993) 14
last frame of action (LFOA) 133, 356, 404
layback 403
LCRS (left, center, right and [mono] surround) 403
leader 132
load spacing 404
location mixer (sound mixer, location recordist) 4, 40–1
location recordist see location mixer
logging bins see bin (Avid)
looping 280
see also ADR (automated dialogue replacement); postsync
Lt/Rt (left total/right total) 404–5
LTC (longitudinal time code) 405, 411
Lumière, Antoine 5
M&E (or international) mix 3, 190, 405
mains (or utility) frequency 20, 405
media exchange format (MXF) 75
actors and 230
noting on ADR data-entry page 292
pickup patterns 42
close cutting room/back up project 363–4
moving from one platform to another 359–63
packaging dialogue elements 363
television/airplane versions 380–1
virtual 372
ADR 56
Rerecording 57, 201–2, 222, 367–9
mixing console 373
monitor chain 116
Montage Picture Processor 73
editor 57
temp music 61
native workstations 131
new way 28
old way 28
noise
editing ADR in noisy scene 316
evaluating 224
finding 223
noise sources 51
air conditioners 51
generators 52
hum 51
outside noise 52
refrigerators, freezers etc 51
set noise 52
broadband noise suppression 264–7
tools 267
nonlinear digital audio workstations 98–9
nonlinear picture editors (NLE) 15
NTSC (National Television Standards Committee) 26, 29, 35–6, 133, 406
nudge value 406
offline edits 62
exporting/importing sessions 76–7
OMFI (Open Media Framework Interchange) format 29, 74–5, 120–1, 406
one light transfer 406
optical camera, optical recorder 379, 406
optical soundtrack 12, 399, 400, 405, 406
PAL (phase alternating line) 27–8, 29, 33, 36, 133, 407
panning 199
emotional separation 204
PFX (production sound effects) 190, 407
noisy 193
temporary effects from picture edit 192
using room tone for flexibility 191–2
Phenakistoscope 4
Phonograph 7
pickup pattern 42
picture changes (reconfomrs)343
dialogue editor relationship with picture department 65–7
etiquette 66
background 58
finishing the picture/packaging the sound 63
first assembly 61
organize material 60
screenings, recuts, completion, music 62–3
spec sheet example 68
temporary sound effects 192
picture, working with
getting system ready for digital video 100–3
history of editing sound locked to picture 96–9
syncing sound 96
picture start 132
picture team 38
electrical department 39
grip department 39
plop (sync pop, beep) 132–3, 408
premix (predub) 22, 365–6, 392, 408
development of mixing models 369–73
forgoing dialogue premix 376
getting approval 378
mixing out of sequence 369
planning 369
scene flow/shot matching 374
scene shaping 375
principal (actors) 280, 317, 408
production sound effects see PFX (production sound effects)
Pudovkin, Vsevelod 10
pulldown 24, 26, 29, 33, 395, 408
changing the order 353
removing material 352
try simplest path 354
VFX 350
recorders 44
complexity 274
getting answers from supervising sound editor/mixer 265
knowing when to stop 275
tools 267
exhibition 409
reference (or alignment) tones 130
using for daily alignment 131
rerecording mixer 57
reverb 321
synthetic processors 321
Rhythmo band 295
ripple mode (shuffle mode) 121–2, 164, 409
copying less than you need 169–70
dealing with changes in pitch/volume 167–8
play one source at a time 175–7
removing noises in dialogue 169
tips/tricks 215
using all takes 167
versus backgrounds/atmospheres 162
rubbering see edge numbering
editing ADR in noisy scene 316
flow 374
organizing 142
rules 142
shaping 375
evaluation form example 114
listening 113
spotting session basics 111–12
SDDS (Sony Dynamic Digital Sound) 14, 22, 380
session conversion programs 362–3
set noise 225
actors 225
dollies 226
electronics 226
feet 227
sound recording issues 227
assorted departments 42
give post-production team what they need 50–2
listen before camera rolls 51
respect the crew 50
sound reports 47
shot (also setup or slate) 409
common abbreviations 248
finding the end 84
organizing within scenes 141–8
picture editing 61
transitions: rules of thumb 171–4
shot matching 374
shot transitions 171
design scenes that require least amount of processing 173–4
evenness as trade-off between noise/smoothness 172–3
play one source of room tone at a time 171–2
shuffle mode 164
silent film 10
Society of the Motion Picture and Television Engineers (SMPTE) 74, 133, 409
sound
designer 54
effects editor 55
sound equipment 42
recorders 44
“Sound and Image” manifesto (1928) 10
sound mixer see location mixer
sound production history
continual change 15
distribution formats 14
postsynchronization 12
sound recording issues 227
clothing rustle 228
dropouts 228
longer electrical clicks 228
shock mount noise 228
small short clicks 228
wind distortion 228
sound report 47, 48, 49, 69–70, 134, 409
common abbreviations 137
sound team 39
boom operator 41
cable person (or sound utility) 42
location mixer (or sound mixer) 40–1
specification sheet
audio/video EDLs 69
example 68
OMF/AAF to match final picture 69
Star Wars 14
studio technology for ADR recording 294–5
supervising sound editor 53–4, 265
SVA (stereo variable area) see Lt/Rt
sync pop see plop
compromises 216
know what you’re syncing to 118–19
talking heads 175, 334, 337, 397, 410
television
ADR for versions of feature film 285
sound 365
temp mix (temp dub) 62, 65, 92, 189, 410
time expansion/compression tools 254–5
time management
estimate length of editing 329–32
expect changes 332
timesheet 324
timebases 24
timecode burn-ins (TC burn-ins) 108
Final Cut Pro 110
tips and tricks 213
ask what works 214
be clean 217
be nimble 220
complete the action 214
don’t forget what you’re reconforming 218
forward/backward 216
get sync sound 214
get your ducks in a row 217
know who you’re working with 218
listen 213
remember where the story is 219
save the line 217
sleight of hand 215
stick to basics 215
story over all else 220
syncing compromises 216
think in parallel 218
think simple 219
train your ears/eyes 219
when there’s no room tome 215
tracks
additional splits 146
ADR track layout 319
choosing 186
labeling 121
multitracks 148
preparing for ADR editing 300–3
scene organization by shot 143–5
sound edits/picture edits 145–6
transcode 411
transient noise 221, 236–7 (impulsive noise)
declipping software 238
dolly noise 241
mitigating distortion with de-click/de-crackle 239–41
reducing clothing rustle 236–8
removing short clicks with pencil tool 234–6
repairing distortion 238
VFX (visual effects) 350
video EDL 69
video file format 66
Vidor, King 12
virtual mixing 372
Virtual VTR 103
VITC (Vertical Interval Timecode) 402, 411
Walla 317
Western Electric 8
word-fitting tools 255–6, 312–16
workflows
analogue project diagram 19
audio example for TV drama 34
postproduction diagrams 31, 32
workprint 12
wrapper (or container) 100, 104, 412
X (X, Y, Z and more) tracks 303, 412
XLM-Pro 79
Zoetrope 4