Index
–12 Phantom power selector, Nagra, 555
+12 Phantom power selector, Nagra, 554
+48 Phantom power selector, Nagra, 554
1/4” tape
syncing, 371
1 kHz (“thousand cycle tone”) sine wave, 134
1;1 copies, 365
2-channel sound report form, 79f
2-track print master, 57
3D games, 607
4 – 10 box, 373
5.0 surround, 225
16mm film, 9, 12, 114, 138, 232
16-bit system, digital audio, 135
20-bit system, digital audio, 135
24 frames per second (fps) rate, 139, 140
24-frame addressing mode, 140
25 frames per second (fps) rate, 140
25-frame addressing mode, 140
29.97 frames per second (fps) rate, 137–138, 139, 140
30 frames per second (fps) rate, 137–138, 139, 140
30-frame drop-frame addressing mode, 140
30-frame nondrop addressing mode, 140
35mm digital soundtrack formats, 501f, 502f
35mm film
first trial, 327
head pop, 304
mag stripe, 133
magnetic fullcoat, 133
magnetic three-stripe, 133
48 kHz/24-bit recording rate, 68–69
96 kHz/24-bit recording rate, 68–69
100 Moey gear head, 11f
A
Aaton Cantar-X digital recorder, 515–520
overview, 522, 522f, 523, 523f
routing 15 inputs to 8 tracks, 524
AB projection reels, 33
A-B-C approach, sound editorial, 307–308
Academy Awards, 21
overview, 21
special rules for Sound Editing award, 25
special rules for Sound Mixing award, 25–26
tradition around sound awards, 21–24
Academy of Motion Picture Arts and Sciences, 21, 264, 294
ACCESS indicator, Fostex PD-6 Front Panel, 517
acmade code, 154
Acmade edge-coding machine, 124
actors
See also ADR
relationship with ADR supervisors, 388
AD (assistant director), 97
ADD (Audio Design Document), 603
addressing modes, timecode, 140
ADR (Automatic Dialog Recording), 386–393
crushed schedule trends, 390–393
overview, 396
group walla
recording, 423
ISDN sessions, 411
language, appropriate use of, 393–395
microphone choice and placement, 408–409
production track, listening carefully to, 389–390
ADR protection report, 410f
ADR String-offs line item, transfer budget, 52
lined script, 303
relationship with actors, 388
AES Digital Input Connector, Deva left panel, 511
AES Digital Output Connector, Deva left panel, 511
A-FX approach, sound editorial, 307–308
AI (artificial intelligence), 598
aircraft carrier effect, 466–467
Airport, 222
all in and mix approach, sound editorial, 306–307
All the President's Men, 103–105
Alphanumeric keys, Fostex PD-6 Front Panel, 518
Altman, Robert, 103
amateur work
developing eyes and ears to observe, 17–18
protecting eyes and ears, 18–19
ambiance
background, dialog, 375
stagnant, 98
Ament, Vanessa, 343–344, 343f, 448f
American Film Technologies, 576–577, 578
Bells of St. Mary's, 578
“Heart-Shaped Box” video, 582
American Graffiti, 480
American sound design, 266–267
ANALOG LINE OUT connectors, Fostex PD-6 Left Panel, 520
ANALOG MIC/LINE INPUT connectors, Fostex PD-6 Right Panel, 521
Analog Outputs, Deva right panel, 512
analog-to-digital (A-to-D) converter, 142–143
Anderson, Richard, 21–22, 277f
The Final Countdown, 259
simulating fire on Foley stage, 452
sound design, 277
The Andromeda Strain, 200
animation, video game, 601–602
Army of Darkness, 12
Arriflex 16mm camera, 11f
art form, sound as, 3, 31–32, 229–230
artificial intelligence (AI), 598
Assassin's Creed series, 611
assigning sound cue part numbers, 234–235
assistant director (AD), 97
assistant picture editor, 47–48
assistant sound editor, 372
A-to-D (analog-to-digital) converter, 142–143
atomic sound files, 606–607, 609, 619
audio CD sound libraries, 323
Audio Design Document (ADD), 603
audio files
See also sound librarian
duplicate, in sound effect inventory database, 256–257
looking for in sound effect inventory database, 257–259
overmodulating, 237f
preparing for disc mastering, 238
audio intrusions, 198
Audio Mechanics, 568–572, 569f, 570f
Richard Anderson, 277
audio spectrum analyzer, 136
audio timecode signal, 140–141
Audio-Technica AT897 shotgun microphone, 359f
Automatic Dialog Recording. See ADR
AUX I/O connector, Fostex PD-6 Left Panel, 521
AUX OUT ATT switch, Fostex PD-6 Left Panel, 521
Avastor HDX 800 portable hard disk drive, 301
Avid, 36
assessing track quality with, 184
cutting film electronically, 124–125
versus Moviola, 164
aways, custom recording vehicle, 206–207
B
Back to the Future, 455
background ambiance, dialog, 375
Backspace buttons, Deva front panel, 509
backups
sound-editorial budget, 51
transfer budget, 54
baked sounds technique, 610
balance (guide) stripe, 35mm stock, 133
Balestier, Bruce, 134f
banana jacks, Nagra IV-S, 556–557
bass trapping, 447
batteries
Nagra IV-S, 533–535, 533f, 548
while field recording, 226
Battery compartment
Deva left panel, 511
Fostex PD-6 Left Panel, 521
Battle Beyond the Stars, 267
Beck, Austin, 438
Beethoven, 23
Bells of St. Mary's, 578
Bernstein, Elmer, 465
Best Sound Editing award, 21
overview, 21
special rules for, 25
Best Sound Mixing award
overview, 21
bidirectional microphone, 81f
Bigelow, Kathryn, 489
Black, Shirley Temple, 586–587
Black Moon Rising, 51
Black Stallion, 349
black track, 327
blending editor, evolution of, 346–350
blooping ink, 233
Blu-ray technology, 237
Boehler, Hurley, 215
Bolger, Jack, 425
boom operator
See also microphone boom
budgeting for, 43
prop department, checking with, 94
Bounce-to-Disk option, Pro Tools, 241, 242
Boyd, John S., 483f
Bratton, Bob, 200
Brennan, Walter, 427
Brisco County, Jr., 12
collateral impact of sound process, 32–35
line items, understanding, 43–52
music budget, 48
production dialog mixers versus custom sound effect mixers, 43–46
production sound budget, 46–48
transfers and stock purchase, 52–54
music, 49f
overview, 43
postproduction costs, 42
post-sound, 55f
production sound, 44f
transfer, 53f
building in volume graphing and equalization, 326–327
Burtt, Ben, 21–22, 266–267, 346
C
California, Nagra IV-S service centers in, 559
California Split, 103
Call of Duty, 600
Callow, Chris, 8f
Camera Connector, Deva right panel, 512
cameras
Arriflex 16mm, 11f
Eastman Kodak 8mm spring-wound, 7–8
optical sound, 78
Red, 108
RED ONE, 59f
Sony Z1, 359f
unblimped, 28
Campbell, Charles L. “Chuck”, 442–444
cannons, recording for Master and Commander, 219–221
Cantar-X digital recorder, Aaton, 515–520
overview, 522, 522f, 523, 523f
routing 15 inputs to 8 tracks, 524
Carle, Rich, 587
Carman, David, 429
Carpenter, John, 29
Christine, 202
test audience screening of Escape from New York, 179
The Thing, 180, 216–218, 289–290
cars. See vehicles
Carver, Steve, 192
CAS (Cinema Audio Society) Awards, 21
Casari, Derek, 407f
cast list, for sound editorial, 303
catalog database, traditional, 259–261
Causey, Tommy, 29
CB Electronics VS-1, 401
CD sound libraries, 323
cellular phones, 27
center speakers, 562
C-FX approach, sound editorial, 307–308
chains sound effect, 221
Christine
A-FX pass, 307
B-FX pass, 307
big explosions, 281
C-FX pass, 308
custom recording vehicles, 202–204
D-FX pass, 308
recording car maneuvers for, 210–212
A Christmas Wish, 586
Cinema Audio Society (CAS) Awards, 21
CIRCLE TAKE key, Fostex PD-6 Front Panel, 518
clapper loader, 119
Clark, Michael, 108
cleaning up audio files, 240–242
CLEAR key, Fostex PD-6 Front Panel, 518
clipping, digital audio, 136
clone drives, 74
close-up perspective team, sound recording, 204
clothing, recording specialists, 228
Cloud, Smokey, 276f
Clutch control lever, Nagra, 537–538, 539, 540
CMIT 5U microphone, 86–87, 87f
A Cock and Bull Story, 528–530
code book, 153f
sound editorial, 303
Colette system, Schoeps, 84–85, 85f
collaboration, importance of, 602
and audio restoration, 572–573
The Aviator, 585
from brains to Hollywood, 576–577
early digital process, 577–578
as legitimate art form, 582
rationale for use of today, 578–582
Ray Harryhausen, 585
Terry Moore, 586
common sense, importance of, 36–38
communication gear, 46
complex sound technique, 610–611
composer. See music composer
computer-generated cue sheets, 328
Config crown, Aaton Cantar-X digital recorder, 524
connectors. See Tuchel in and out connectors, Nagra IV-S
consistency
boom techniques, 92
Foley cues, 450
importance in picture editing, 158
consonants, ADR cutting, 423, 424
Conti, Bill, 466
continuity, in sound editorial, 304
contracts, reading fine print in, 40–42
CONTRAST/TC SETUP key, Fostex PD-6 Front Panel, 516
fader controls, 485
hard-wired to patchbay, 484
parametric equalizer, 486, 486f
control panel, Nagra IV-S
overview, 542
Conversion Quality setting, Pro Tools, 244–245
convolution reverb, impulse response for, 357f, 358f
Corman, Roger
Battle Beyond the Stars, 267, 435
cost savings, in picture editorial, 158–159
costs. See budget
co-supervising sound editor, 297
CPU-based compression/limiting, 617
Crabtree, Casey, 445, 446, 446f
Crampton, Sean, 580f
crash downs, 52
creative director, video game team, 598
crew
sound editorial
Crichton, Michael, 200
Crimewave, 12
Crimson Wolf Productions, 60–65
critical studies, 3
Crothers, Scatman, 380
crystal sync, 371
CUE key, Fostex PD-6 Front Panel, 518
cue sheets
hand-made versus computer-generated, 328
information header, 329
cueing
overview, 396
grassy surrogate, 451
overview, 449
remaining quiet on stage, 455
safety with glass, 452
self-awareness tips, 451
zip drips, 455
picture
cue sheets, 328
information header example, 329
overview, 327
presentation, 328
wipe technique, 328
overview, 106
Curtiz, Michael, 77
CUSTOM FX RECORDIST, sound-editorial budget, 51
custom recording sound effects
by custom recording specialists, 198–200
Robert Wise, 200
field recording in 5.1, 224–226
preparing for successful recordings, 226–228
script breakdown, importance of, 222–224
recording multiple points of view simultaneously, 212–214
smaller is often bigger, 221–222
by sound librarian, 230
custom recording specialists, 198–200
Robert Wise, 200
custom sound effect mixers, 43–46
cutting
nonlinear and conform, 124–127
streamlining process for low-budget sound editorial, 350–351
cutting reels, 302
D
Dances with Wolves, 493
Dante's Peak, 495
Darkman, 12
DAT (digital audio tape) machines, 105f
2-channel, 103
backup, 74
effect of outside elements on, 106
remote location looping, 416, 417
as sound library tool, 236
data entry, importance of, 131–132
database
sound effect inventory, 254–259
looking for audio files, 257–259
overview, 254
printouts, 256
date of recording, information header, 76
DAW (digital audio workstation), 603–604
Daylight, worldizing sound in, 287–288
DC IN 12V connector, Fostex PD-6 Right Panel, 522
DC OUT connectors, Fostex PD-6 Right Panel, 522
dead cat (Rycote Windjammer), 90–91
debris, recording, 219
declicking process, 364
dedicated speaker, 563
degauss Erase head, Nagra, 540f, 541
delivery format, laboratory, 120
Denecke smart slate, 89f
denture clacks, repairing, 376
description entry, code book, 153
designation chart, Nagra IV-S, 534f
designers, video game, 598–600
Destination Directory setting, Pro Tools, 245
DEVA 16 recorder, ZAXCOM, 509–512
left panel, 511
overview, 509
DEVA 5.8 recorder, ZAXCOM, 509–512
left panel, 511
overview, 509
developers, video game, 595–596
DIA session, Pro Tools, 374–376
DIA tracks, 373
dialog, in video game sound, 613–615
dialog editing
See also dialog editor
diamond punch, 376
transparency, 363
dialog editor
dialog sequence sheets, 365–366, 365f, 366–367
edit decision list, 365–366, 365f, 367–368
importance of consistency, 372–373
laying out dialog track, 372–382
art of dialog editing, 379–380
creating that which is not there, 380–381
equalizing and volume graphing, 381–382
Pro Tools DIA session, 374–376
production sound effects, 376–377
unwanted noises, 376
lined script, 303
overview, 363
quality control before postproduction, 364
reprinting dialog cues from original source on film, 370–372
assistant sound editor as transfer engineer, 372
strategy for dialog editing, 364–365
dialog sequence sheets, 365–367, 365f
dialog supervisor, 297
See also ADR supervisor
dialog track, 46
diamond punch, dialog editing, 376
digital audio tape machines. See DAT machines
digital audio workstation (DAW), 603–604
digital fade choices, 314
digital files, stability of, 235–240
digital intermediates, 128
DIGITAL I/O connector, Fostex PD-6 Right Panel, 522
digital portable sound recorders
overview, 522, 522f, 523, 523f
routing 15 inputs to 8 tracks, 524
overview, 515
Sound Devices recorders, 511–512
ZAXCOM DEVA 5.8 and DEVA, 16, 509–512
left panel, 511
overview, 509
Digital SDDS format, 501f, 502
digital signal processing (DSP), 242
digital thinking, 161
digital ticks, removing, 241
digital-to-analog (D-to-A) converter, 142, 457
directional microphones, 82, 447
directivity, microphone, 86
directors
assistant, 97
creative, video game team, 598
of photography, 598
direct-to-picture technique, 426, 427
disabled people, in sound business, 175
DISC FEED switches, Fostex PD-6 Front Panel, 520
distortion, 18
Dr. Jekyll and Ms. Hyde, 568–569
Dolby A noise-reduction channels, 40
Dolby Encode software, 564f
Dolby SR-D format, 499, 501f, 502
Don Juan, 481
double phantoming, 337
DPA condenser microphone, 359f
Drever, Leslie, 109
Drop Frame mode, Nagra IV-S, 558
drop-frame timecode
checking for, 141
mixing drop-and nondrop-frame sessions, 142
overview, 141
drop-frame video transfer technique, 2, 48
DSP (digital signal processing), 242
D-to-A (digital-to-analog) converter, 142, 457
dual unionship, 349
dual-capsule microphone, 99, 99f, 338
dubbing. See rerecording dubbing cue sheet, 329–331
duplicate files, sound effect inventory database, 256–257
DVD-Rs
backups, 74
DYN 200 Phantom power selector, Nagra, 554
DYN 50 Phantom power selector, Nagra, 554
dynamic microphones, 82
dynamics, 23
E
ear plugs, 227
ears
Eastman Kodak 8mm spring-wound camera, 7–8
Edemann, Lou, 444
aligning, 120
dialog sequence sheet, 366
picture digital workstation, 368
placement of, 366
edit decision list (EDL), 125, 296, 365–366, 365f, 367–368
editing
See also dialog editor; low-budget sound editorial; picture editorial; sound editorial
importing Foley stems into Pro Tools for track stripping, 460–463
editor name, in cue sheet information header, 329
effects mixer, 488
eight-channel music transfer, 251, 252f
EJECT lever, Fostex PD-6 Left Panel, 521
emerging technologies
The Aviator, 585
from brains to Hollywood, 576–577
early digital process, 577–578
as legitimate art form, 582
rationale for use of today, 578–582
Ray Harryhausen, 585
Terry Moore, 586
sound delivery formats, 561–564
total immersion technologies, 565–568
entertainment in total immersion, 567–568
practical application for training purposes, 567
audio techniques in action, 605–609
game development team, 598–602
individual contributors, 597
production sound department for, 587–590
production studios, 597
publishers, 595
Emmys, 21
Engle, Peter, 577
Engtrom, Paul, 59f
entertainment sound, 9
equalization, 283
equalization setting, information header, 76
Escape from New York, 23
custom sound effects, 202
test audience screening, 179
E.T.; The Extra Terrestrial, 289, 443, 444, 476–477
etiquette, rerecording, 497–498
Evans, John, 348
The Evil Dead trilogy, 12
executive producer, video game team, 598
EXIT key, Fostex PD-6 Front Panel, 517
explosions
sound design, 281
external power pack, Nagra IV-S, 555
EXT.NRS (Tuchel 7-pin connector), Nagra IV-S, 552
Extreme Measures, 457
eyes
F
fade, digital, 314
fade techniques, Pro Tools session, 313, 313f, 314f
fader controls, mixing console, 485
fader pot, 485f
faders, Deva front panel, 510
Fantasia, 145
Fasal, John, 46, 193–195, 194f, 199f, 201f, 211f
Fast Forward switch, Nagra IV-S, 540
Fejos, Paul, 77
field recordings
FILE SEL/EDL SEL key, Fostex PD-6 Front Panel, 517
File Type setting, Pro Tools, 244
FileMaker Pro software, 254
files. See audio files
fill, in dialog track, 377–379
fill leader, 233
film
cutting nonlinear and conform, 124–127
edge code and key codes on, 124
head and tail leaders for, 148–152
attention to detail, importance of, 151–152
reprinting dialog cues from original source on, 370–372
assistant sound editor as transfer engineer, 372
restoration, 145
mag stripe, 133
magnetic fullcoat, 133
magnetic three-stripe, 133
film scoring. See music composer
film-rate conversion, television, 139
Filter selector, Nagra IV-S, 549
Final Cut Pro
assessing track quality with, 184
cutting film electronically, 124–125
fine print, reading in contracts, 40–42
Firelight FMOD sound system, 606–607
FireWire (IEEE 1394) connector, Deva left panel, 511
first assistant sound editor, 296
first frame of modulation, ADR, 386
first-person shooter games, 600
Fischer, Carl, 527f
fish pole microphone boom, 91–92
See also Cuemaster
5.0 surround, 225
5.1 ambiance fields, recording, 224–226
Flags of Our Fathers, 193–195, 194f
flatbed editing machines, 146, 184
Flat/Hi-Pass setting option, Pan Pot Controllers, 338, 339f
Flick, Donald, 445
Flick, Stephen Hunter, 259, 277–278, 278f
flow chart, sound editorial crew, 295–299
ADR supervisor, 297
dialog supervisor, 297
first assistant sound editor, 296
Foley artists, 299
sound apprentice, 296
sound designer, 297
sound effects editors, 297–298
Foley
grassy surrogate, 451
overview, 449
remaining quiet on stage, 455
safety with glass, 452
self-awareness tips, 451
zip drips, 455
importing Foley stems into Pro Tools for track stripping, 460–463
lead Foley artist, selection of, 444
observing Foley stage in action, 446–449
overview, 425
supervising Foley editor, 441–442
lead, 444
relationship with mixers, 446–447
Foley cutter, 456
Foley stage. See stages, Foley
Foley String-offs line item, transfer budget, 52
footfalls, 426
foreign sales, index-linking, 480
foreign soundtrack. See M&E version
Format setting, Pro Tools, 244
formats
48 kHz/24-bit recording rate, 68–69
Fostex FR-2, 195
Fostex PD-6 digital recorder, 512–515
overview, 515
4–10 box, 373
four-gang synchronizer, 310f
frame rates, timecode, 140
Frankowski, Nathan, 59f
Friedman, Thomas L., 583
front control panel, Nagra IV-S
overview, 542
front panel
Aaton Cantar-X multiple channel digital sound recorder, 522f
Deva, 510f
Fostex PD-6 multichannel digital sound recorder, 519f
Sound Devices 744T sound recorder, 512f
fullcoat film stock, 35mm, 133
fullcoats, 54
Function buttons, Deva front panel, 510
furry dog (Rycote Windjammer), 90–91
G
game engine, 594
games. See video game sound
Garcia, Sandy, 448f
Gentlemen Prefer Blondes, 586
Giammarco, David, 487f
Glass, Bob Jr., 364
glass sound effect, 221–222, 452
Goldblatt, Mark
digital editing, 161
editing style, 161
Golden Reel Awards, 21
Grand Theft Auto IV, 596
graphic equalizer, creatively misusing, 320–321
grass, for Foley, 451
The Great Triangle Formula, 37, 38f
Grid mode, Pro Tools, 458
overview, 270
group walla
post-sound budget, 56
recording, 423
guide track, dialog track, 373
gunfire, in sound design, 278–280
gunfire sound effect, 279
The Guns of Navarone, 9
H
hand-made cue sheets, 328
recording to via nonlinear workstation, 54
storage space, 245
harness, Cuemaster, 109
Harryhausen, Ray, 573, 584f, 585
head leaders for film, 148–152, 148f
attention to detail, importance of, 151–152
head pop, 35mm film, 304
head stack, Nagra IV-S, 540–541
head wear cost, transfer budget, 54
header, ADR cue sheet, 400
headphone jack and controls, Nagra IV-S, 550
Headphone Output, Deva right panel, 512
Headphone Volume, Deva front panel, 510
hearing, protecting, 18
Hedgepath, Greg, 482–483, 484f
Hedin, Wendy, 298f
Hells Angels, 584f
The Hellstrom Chronicles, 442–443
Heman, Roger, 425
high wind cover (Rycote Windjammer), 90–91
highly directional microphones, 82
Hitchcock, William Sr., 425
Hockman, Charles Nedwin, 359
horizontal editing, 298, 305, 308
Horner, James, 469
Horvath, Rosemary, 584f
Hunter, Ross, 222
hypercardioid microphones, 81f, 82
Hytti, Antti, 265
I
ID tags, mag film, 147
idles, custom recording vehicle, 205–206
IEEE 1394 (FireWire) connector, Deva left panel, 511
IMDb (Internet Movie Database), 335
immersion technologies. See total immersion technologies
in connectors. See Tuchel in and out connectors, Nagra IV-S
index-linking foreign sales, 480
India, outsourcing colorization to, 583–584
individual contributors, video game, 597
information header, cue sheet, 329
In/Out counts, ADR cue sheet, 400
interlock test screening, 56, 57
interlocking to timecode, 143
intern (sound apprentice), 296
Internal monitor speaker, Fostex PD-6 Left Panel, 520
Internet Movie Database (IMDb), 335
inventory database, sound effect, 254–259
looking for audio files, 257–259
overview, 254
printouts, 256
ISDN sessions, 411
Isham, Bernice, 267
It's a Wonderful Life, 575
iWorks software, 254
J
JAM switch, Fostex PD-6 Front Panel, 519
Jarre, Maurice, 465
Jaws
custom sound effects, 197
test audience screening, 178–179
jobs, picture editorial, 173–175
Jog crown, Aaton Cantar-X digital recorder, 524
jog wheel functions, Aaton Cantar-X digital recorder, 523f
Johnny Got His Gun, 163
Jon Woo Presents; Stranglehold, 608, 620f
Jordan, Tim, 204
Jyrälä, Paul, 32f, 68f, 74, 105–106, 105f, 265
K
Karson, Eric, 101
Kasha, Al, 577
Kastner, Stan, 484f
KEM flatbed editing machine, 184
KEM rolls, 154
key number entry, code book, 154
Kinect hardware, Microsoft, 590–591
King, Richard, 219–221, 220f, 274f, 275
KIWA International Ltd, 401–404
Kizer, R.J. (Bob), 390, 391–393, 391f
Klark Technik 30-band equalizer, 242, 283, 284f, 320, 321, 321f
Korngold, Erich Wolfgang, 465
Kubik, Lawrence, 29
Kulczycki, David, 391f
L
Labor line items, sound-editorial budget, 48, 50f
laboratory
data entry, importance of, 131–132
1-khz sine wave and square wave, 136–137
pink noise, 136
VU and digital meters, 135–136
overview, 119
sound transfer, 47
35mm film stock variants, 132–133
35mm mag stripe, 133
35mm magnetic fullcoat, 133
35mm magnetic three-stripe, 133
addressing modes, 140
checking for drop/nondrop, 141
drop-frame, 141
as enabling synchronization, 139
frame rates, 140
mixing drop-and nondrop-frame sessions, 142
specifications for video transfers, 141
VITC, 142
delivery format, 120
edge code and key codes on film, 124
important considerations regarding, 131
shot on film–cut nonlinear, 127–130
shot on film–cut nonlinear and conform, 124–127
shot on film–cut on film, 120–123
shot on video–cut nonlinear, 130–131
Landaker, Gregg, 280
language, appropriate use of, 393–395
Larsen, John A., 181, 276, 276f
last frame of action (LFOA) chart, 304
last frame of picture (LFOP) chart, 304–305
layback (transport) drive, 33
layering techniques, sound editorial, 318–319
laying out dialog track, 372–382
art of dialog editing, 379–380
creating that which is not there, 380–381
equalizing and volume graphing, 381–382
Pro Tools DIA session, 374–376
production sound effects, 376–377
unwanted noises, 376
lazy man's cradle, 92
LCD display, Fostex PD-6 Front Panel, 517
Le Mare, Mike, 310
lead Foley artist, 444
LeBlanc, Eric, 114f
LeBlanc, John, 94, 101, 102, 114–117, 114f
Lee, Steve, 236f
left panel
Deva, 510f
Fostex PD-6 multichannel digital sound recorder, 520f
Sound Devices 744T sound recorder, 513f
left speakers, 562
left surround speakers, 563
Leonard, Terry, 29
Leonardo software, 254
Level control, Nagra IV-S, 547–548
LFOA (last frame of action) chart, 304
LFOP (last frame of picture)
light button, Nagra IV-S, 545
LIGHT key, Fostex PD-6 Front Panel, 517
Lightwave Audio, 109
Line & Phones switch, Nagra IV-S, 544
Line inputs (Tuchel 7-pin connector), Nagra IV-S, 552
music budget, 48
production dialog mixers versus custom sound effect mixers, 43–46
production sound budget, 46–48
transfers and stock purchase, 52–54
Line outputs, Nagra IV-S
Tuchel 7-pin connector, 552–553
EXT.NRS, 553
outputs, 553
linear numbering system, sound library, 235
lined script, in sound editorial, 303
1-khz sine wave and square wave, 136–137
pink noise, 136
pull-ups, 500
VU and digital meters, 135–136
lip smacks, in dialog track, 376
listener position, 3D game, 607
LOCATE key, Fostex PD-6 Front Panel, 518
location field-trip, mixers, 43
location of recording, information header, 75
looping
overview, 383
remote location looping, 416–417
Lord, Jack, 379
low-budget sound editorial
blending editor and rerecording mixer, 346–350
example of problem-solving for, 356–358
finding out about project, 335
keeping process tight and lean, 351–353
M&E, 356
double phantoming, 337
single monaural channel—flat, 340
single monaural channel—right –10 dB, 341
tone generators, 338
two discrete channels—recording stereo, 341–342
two discrete monaural channels—recorded separately, 341
single sound designer/rerecording mixer, 353–356
streamlining cutting process, 350–351
supervising sound editor, 335–336
Lubitsch, Ernst, 77
Lucas, George, 480
Luft, Sid, 578
M
M setting, Nagra IV-S, 549
M&E (music and effects) version
appropriate use of language, 393
dubbing chart, 503f low-budget sound editorial, 356
post-sound budget, 57
preparing for foreign market, 503–504
protecting sound effects for, 374, 376
mag stripe film stock, 35mm, 133
Magliner dolly, 109f
magnetic fader panel, Aaton Cantar-X digital recorder, 523
magnetic fullcoat film stock, 35mm, 133
magnetic three-stripe film stock, 35mm, 133
Main Function selector bar, Nagra IV-S
overview, 544
playback, 545
Mancini, Henry, 466
maneuvers, custom recording vehicle, 209–212
Markowski, Alexander, 417–421, 418f
Markum, Monty, 379
Martin, David G., 580f
Massey, Paul, 487f
master angle, shooting at faster pace, 159–161
mastering
See also print mastering
complex sound effects, 242–249
mixed medium synchronous, 252–254
multichannel techniques, 251
matrixed stereo optical soundtrack, 57
May, Brian, 466
Maynes, Charles, 46, 193–195, 194f
recording metal press, 212f
recording Metro Rail, 198f
working from home, 317f
McLaughlin, Chris, 103
mechanicals, custom recording vehicle, 204–205
Meiselmann, Peter, 74
metal deck, Foley stage, 435, 436f
Meter selector, Nagra IV-S, 547
Metropolis software, 254
Mic/Line Inputs, Deva right panel, 511, 512
microphone boom
See also Cuemaster
studio, 90
boom operator during setup, 93–94
prop department, checking with, 94
microphone XLR connector, Nagra IV-S, 553
microphone XLR inputs, Nagra IV-S, 553–554
ADR, choice and placement for, 408–409
bidirectional, 81f
built-in, video cameras, 337
channels and, 79
directional Sennheiser, 447
directivity, 86
DPA condenser, 359f
dynamic, 82
monaural, 99
overview, 81
stereo capsule, 99f, 100–101, 100f
X-Y configuration, 98–99, 341, 342, 342f
Microsoft Kinect hardware, 590–591
Mics/Line selector switch, Nagra IV-S, 549–550
Millan, Scott, 504, 505f Miller, Karl Lewis, 214
mini-shotgun microphones, 82
misinformation, 2
mixed medium synchronous mastering, 252–254
mixed track, 185
production dialog versus custom sound effect, 43–46
relationship with Foley artists, 446–447
team approach, mixing schedule, 492
mixing
See also rerecording
multichannel, 103
Modulometer, Nagra IV-S, 552
Mohr, Hal, 77
monaural channel recording
flat, 340
recording two channels separately, 341
right –10 dB, 341
monaural microphones, 99
MONITOR control, Fostex PD-6 Front Panel, 517
Monitor mode select switch, Fostex PD-6 Front Panel, 517
Monitoring crown, Aaton Cantar-X digital recorder, 524
monitoring field recordings, illusion of, 101–102
monophonic photography, 4
Mono-Stereo selector, Nagra IV-S, 550
Moviola versus Avid, 164
nonlinear editing, 164
Moore, Terry, 586
Morricone, Ennio, 466
Morrow, Vic, 379
Mortal Kombat vs. DC Universe, 592f, 596, 604
assessing track quality with, 184
versus Avid, 164
dupe picture and video dupes, 301
multichannel mastering techniques, 251
multichannel mixing, 103
multigang synchronizer, 146
multiple points of view, recording simultaneously, 212–214
Munro, Annabelle, 359f
Murray, Alan Robert, 193–195, 194f
music
importance of, 165
licensed, 470
temp, for spotting sessions, 185
music and effects version. See M&E version music composer
challenges of writing for screen, 466–468
index-linking foreign sales, 480
insight, need for, 478
issues affecting creative effort, 479
N
Nagra IV-S
Capstan and Pinch roller, 541–542
Fast Forward switch, 540
front control panel
overview, 542
head stack and transport, 540–541
overview, 531
Pilot head, 541
Playback head, 541
Record head, 541
service centers, 559
speed and equalization selector, 536–537
Stabilizer roller, 541
Tuchel in and out connectors, 552–557
external power pack, 555
EXT.NRS, 552
Line inputs, 552
Line outputs, 552–553, 556–557
microphone XLR connector, 553
microphone XLR inputs, 553–554
Output side, 555
phantom power selectors, 554–555
phase selector, 555
Time Code In/Out connector, 557
Nagra USA, Inc., 559
Nagras, 105f
See also Nagra IV-S
2-track, 103
National Television System Committee (NTSC), 137–138, 265
negative-going waveform, 140
Neumann KMR 82 microphone, 88, 88f
Neumann USM 69 i microphone, 100–101
New York, Nagra IV-S service centers in, 559
Newman, Alfred, 465
Night Technologies EQ3 equalizer, 242
96 kHz/24-bit recording rate, 68–69
Nitroglycerine Blast effect, 318–319
No Saints for Sinners, 59f
Noise Reduction switch, Nagra IV-S, 550
nondrop-frame timecode
checking for, 141
mixing drop-and nondrop-frame sessions, 142
nonlinear editing
nonlinear reprinting, dialog cues from original source, 371–372
nonperformance vocals, 240–241
Norton Utilities software, 239, 239f
notes, on spotting sessions, 186–187
NTSC (National Television System Committee), 137–138, 265
numbering techniques, 124
Numeric keypad, Deva front panel, 509
O
observing, developing eyes and ears for, 17–18
Occupational Safety and Health Administration (OSHA), 113
Oklahoma, Nagra IV-S service centers in, 559
Olney, Susan, 573
OMF (Open Media Framework) files, 47–48, 125–127, 152, 368–370
omnidirectional microphones, 81–82
On Any Sunday, 273
1;1 copies, 365
1-khz sine wave and square wave, 136–137
one-frame overlaps, Pro Tools, 316–318
100 Moey gear head, 11f
Open Media Framework files. See OMF files
optical sound camera, 78
OSHA (Occupational Safety and Health Administration), 113
out connectors. See Tuchel in and out connectors, Nagra IV-S
The Outlaw, 585
Output side, Nagra IV-S, 555
outsourcing colorization to India, 583–584
overloading, digital audio, 136
overmodulating
audio files, 237f
explosions, 219
P
PA (production assistant), 119–120
PAL (phase alternating line), 265
Pan Pot Controllers, low-budget sound editorial, 338–339
Panasonic DAT machines, 373
parametric equalizer, mixing console, 486, 486f
Parikka, Pekka, 32f
part numbers, sound cue, 234–235
Partlow, Rick, 343f
passion, importance of, 5
patchbay, hard-wiring mixing console to, 484
PD-6 digital recorder, Fostex, 512–515
overview, 515
PEAK indicators, Fostex PD-6 Front Panel, 520
Peckerwood Canyon background, 316
per scene/take technique, 120–122
perception of quality, 334
Perfectone, 162
Perkins, Jeffrey, 493
Perreault, André, 484f
Petersen, Wolfgang, 335
PFL keys, Fostex PD-6 Front Panel, 520
phantom power selectors, Nagra IV-S, 554–555
phase alternating line (PAL), 265
phase selector, Nagra IV-S, 555
phasing problems, microphones, 338, 341–342
phone conversations, recording, 103–105
PHONES jack, Fostex PD-6 Front Panel, 517
photographic stock, 132f
cardioid microphones, 82
hypercardioid microphones, 82
omnidirectional microphones, 81–82
overview, 81
supercardioid microphones, 82–88
picture cut, 33
picture editorial
cost savings and costly blunders, 158–159
craftspeople of color, 175–176
head and tail leaders for film, 148–152
attention to detail, importance of, 151–152
Leander Sales, 156–157, 172–173
Mark Goldblatt, A.C.E., 157–158
overview, 145
romantic mythology, danger of, 155
shooting master angle at faster pace, 159–161
picture editorial runner, 120
picture film stock, 35mm, 132–133
Pierce, Ronald, 425
Pilot flag indicator, Nagra IV-S, 551
Pilot Frequency control, Nagra IV-S, 547
Pilot head, Nagra IV-S, 541
Pinch roller, Nagra IV-S, 541–542
ping-pong effect, 326
The Pink Fuzzy Nightgown, 586
Pipe Test background, 316
pistol grip, shotgun microphone, 91f
planning phase
art form of sound, understanding, 31–32
music budget, 48
overview, 43
production dialog mixers versus custom sound effect mixers, 43–46
production sound budget, 46–48
transfers and stock purchase, 52–54
collateral impact of sound process, 32–35
common sense, importance of, 36–38
Crimson Wolf productions, 60–65
fine print, reading in contracts, 40–42
postproduction costs, 42
playback, Nagra IV-S, 545
playback dummy, 384
Playback head, Nagra IV-S, 541
PNO (program number), 78–79, 235, 408, 410
Poledouris, Basil, 470–474, 471f, 479–480
Polito, John, 568–569, 570–572
portable sound recorders. See digital portable sound recorders Porter, Terry, 145
Portman, Clem, 425
positive-going waveform, 140
Post, John, 429–430, 442, 453–455, 454f
Post Conform software, 152, 371–372
postproduction
See also specific post-production phases by name
costs of, 42
temp dubs
post-production supervisor, 334
post-sound facility budget, 54–57, 55f
posture, boom operators, 113–114
potentiometers, Nagra IV-S, 546–547
action chase sequence, 213
recording Metro Rail, 198f
War of the Worlds, 199f
Power Input Connector, Deva left panel, 511
POWER SEL (INT/EXT) switch, Fostex PD-6 Right Panel, 522
power supply, importance of, 226
power switch
Deva left panel, 511
Fostex PD-6 Front Panel, 515
Nagra IV-S, 543
PRE REC switch, Fostex PD-6 Front Panel, 519
predub group, cue sheet information header, 329
prerendered technique, 610
presentation, while cueing picture, 328
PricewaterhouseCoopers, 21–22, 24
printouts, sound effect inventory database, 256
Pro Tools
car predub from R-6 of Jackie Brown, 324f
digitizing audio data into, 243–244, 244f
edit session, 241
Grid mode, 458
importing Foley stems into for track stripping, 460–463
laser tag fire fight elements, 322f
layering techniques for cannon fire, 318–319
Mauser rifle, 279f
Record mode, 458
recording straight to hard disk, 54
sound file transfer from QuickTime movie, 373
Transport Window, 459
whip pan techniques for laser fire, 321–323
production assistant (PA), 119–120
production company name, information header, 75
production dialog mixers, 43–46
production FX recordist, 45
production sound
See also digital portable sound recorders
overview, 106
department for gaming, 587–590
fish pole microphone boom, 91–92
laying out dialog track, 376–377
low-budget sound editorial, 336–342
double phantoming, 337
single monaural channel—flat, 340
single monaural channel—right –10 dB, 341
tone generators, 338
two discrete channels–recording stereo, 341–342
two discrete monaural channels–recorded separately, 341
microphone boom techniques, 92–94
boom operator during setup, 93–94
prop department, checking with, 94
microphones and pick-up patterns, 81–88
cardioid, 82
hypercardioid, 82
overview, 81
monitoring field recordings, illusion of, 101–102
multichannel mixing, 103
phone conversations, recording practical, 103–105
cable man, 70
room tones and wild tracks, 96–97
for sound editorial, 303
splitting off source sound, 97–98
stereo capsule microphones, 100–101
studio microphone boom, 90
ultimate goal and challenge of, 117, 524–525
wireless microphone, using, 94–96
X-Y microphone configuration, 98–99
production studios, video game, 597
production track
listening carefully to for ADR, 389–390
program number (PNO), 78–79, 235, 408, 410
programming, video game, 600–601
project name, information header, 76
projection reels, 33
projector optical reader head, 232f
protecting
equipment, 226
protection report, ADR, 410–411
protocol, 71f
See also transfer protocol, laboratory
editing flow for shot on film–cut nonlinear, 126f
editing flow for shot on film—cut nonlinear and conform, 123f
editing flow for shot on film–cut on film, 121f
preslating, rolling sound, and onscreen slating, 71, 72
proximity, 279
pseudostereo background, 316–318
publishers, video game, 595
pull-down effect, with timecode, 139–140
The Punisher, 377
Q
QC (quality control), 131
before postproduction, 364
Quake, 600
1/4” tape
syncing, 371
QuickTime
dupe picture and video dupes, 301
picture editor–s guide track, 365–366
video outputs, 302
quiet, on Foley stage, 455
R
radio frequency (RF) microphones, 94
radio transmitter, placing, 96
radio-control equipment, 27
Ramsay, Todd, 179
rate (speed), timecode, 139, 140
reality, in sound design, 9, 281–283
REC key/indicator, Fostex PD-6 Front Panel, 519
Record Arming switch, Pro Tools, 414, 459
Record head, Nagra IV-S, 541
Record Loop function, Pro Tools, 413f
Record mode, Pro Tools, 458
recorders. See digital portable sound recorders
recording
See also custom recording sound effects; digital portable sound recorders; monaural channel recording
dialog with looping technique, 413–415
group walla, 423
low-budget sound editorial, 339–340
production, sequence of, 70–72
recording team, production, 68–70
cable man, 70
Red Camera, 108
Red Dead Redemption, 613
RED ONE digital camera, 59f
reel number, in cue sheet information header, 329
Reference Oscillator button, Nagra IV-S, 545
Reiner, Rob, 480
REMOTE connector, Fostex PD-6 Left Panel, 521
remote location looping, 416–417
reprinting dialog cues from original source on film, 370–372
assistant sound editor as transfer engineer, 372
rerecording
effects mixer, 488
music mixer, 488
rerecording mixer
Resolution setting, Pro Tools, 244
Resolve Duplicate File Names By setting, Pro Tools, 245
restoration, film, 145
See also audio restoration
Rewind switch, Nagra IV-S, 539–540, 539f
RF (radio frequency) microphones, 94
Rice, Steve
dialog editing Moscow on the Hudson, 381
dialog editing The Aviator, 380
disablement of, 175
Richards, Charlene, 442
rifle bolt actions, 280
right panel
Deva, 510f
Fostex PD-6 multichannel digital sound recorder, 521f
Sound Devices 744T sound recorder, 514f
right speakers, 562
right surround speakers, 563
rock-and-roll technology, 384, 386
Roesch, John, 455
roll number, label notation, 149
roll or drive number, information header, 76
Room Rentals item, sound-editorial budget, 49f
room-tone ambiance, 96–97, 378
Roulo, Karin, 448f
Rózsa, Miklós, 465
Russell, Greg, 504–505, 504f, 505f
S
safety kit, 227
safety with glass, for Foley, 452
sales, index-linking foreign, 480
Sales, Leander, 156–157, 172–173, 174–176
Sample Rate setting, Pro Tools, 244
sampling rate, information header, 76
Sandrew, Barry B., Ph.D., 573, 574f, 580f
See also colorization
Sawyer, Gordon, 425
Scan Mounted Volume option, DiskTracker, 255
Scene-Angle-Take information, smart slate, 89
scene/take number, code book, 153
Schifrin, Lalo, 466
Schoeps CMIT 5U microphone.
See CMIT 5U microphone
Schoeps Colette system, 84–85, 85f
Schoeps MDMS U Matrix for Double M/S system, 225, 225f
Schuneman, Steve, 107
Schwarzenegger, Arnold, 481, 482
scoring film. See music composer Scorsese, Martin, 585
Scott, David, 359f
scraping technique, 35mm mag stripe, 312f
screening, test, 52, 56, 57, 158, 177–179
screening magnetic film transfer, 56
script breakdown, importance of, 222–224
Search menu, DiskTracker, 257f
second assistant camera person, 119
see-a-gun/cut-a-gun, 193, 194f
Seivers, Zach, 343–344, 494, 494f
SEL dial/ENTER key, Fostex PD-6 Front Panel, 517
self-awareness tips, for Foley, 451
semi-background perspective team, sound recording, 204
Sennheiser microphones, 409f, 416
directional, 447
sensor interactive technologies, 566–567
separation of sound cues, 311
Serial/RS422 connector, Deva left panel, 511
service centers, Nagra IV-S, 559
SETUP/UTILITY key, Fostex PD-6 Front Panel, 516
7-pin connector, Tuchel
EXT.NRS, 552
Line inputs, 552
EXT.NRS, 553
inputs, 553
outputs, 553
Sharpie marker, 147, 148, 149, 309
She, 585
SHIFT key/indicator, Fostex PD-6 Front Panel, 516
The Shirley Temple Storybook, 586–587
Shot on Film–Cut on Film technique, 120–123, 121f, 123f, 126f
Show Mix Window mode, Pro Tools, 414
show title, in cue sheet information header, 329
Shure FP33 3-Channel Stereo Mixer, 337f
signal cancellation, 82
Sikorski, Joe
The Andromeda Strain, 200, 429f
on Jack Foley, 427
simple sounds technique, 610
Simpson, George, 187f
sine wave, 1-khz, 134, 136–137, 136f
Sister Act, 378
6-pin Tuchel connector, Nagra IV-S, 555
16mm film, 9, 12, 114, 138, 232
16-bit system, digital audio, 135
Skate series, 613
SKIP/CURSOR keys, Fostex PD-6 Front Panel, 518
slate assistant, 72
Slate microphone, Fostex PD-6 Front Panel, 519
SLATE switch, Fostex PD-6 Front Panel, 519
slating
audio tape prior to camera rolling, 71
clap errors, 147
Smith, Chuck, 214
Smith, Howard, A.C.E., 165–168, 165f
Snap Sound company, 494f
snow
software
Dolby Encode, 564f FileMaker Pro, 254
iWorks, 254
Leonardo, 254
Metropolis, 254
Sound Designer II, 250
video game, 594
SOLO monitor select switch, Fostex PD-6 Front Panel, 517
Sonic Solutions audio software, 364, 390
Sony MDR-series dynamic stereo headphones, 247
Sony Z1 camera, 359f
sound
art form of, understanding, 31–32
empowerment of, 1, 2, 2f, 3, 4–5, 6
picture editorial and, 162–165
sound apprentice, 296
sound awards. See Academy Awards
Sound Branch Academy, 21
sound containers. See sound cues
sound crew, 293f
sound cues
assigning part numbers, 234–235
separation of, 311
sound design
Bob Grieve and Westerns, 270–272
overview, 270
explosions, 281
John A. Larsen, 276
John Carpenter's The Thing, making of, 289–290
Jon Johnson, 275
misinformation regarding, 268–270
reality versus entertainment, 281–283
Richard Anderson, 277
Richard King, 275
subtlety in, 281
worldizing sound
sound designer
overview, 297
Sound Designer II software, 250
Sound Devices digital recorders 744T, 195, 195
sound editor, custom recording sound effects by, 200–222
See also sound editorial; supervising sound editor
multiple points of view, 212–214
smaller is often bigger, 221–222
sound editorial
See also low-budget sound editorial
ADR supervisor, 297
dialog supervisor, 297
first assistant sound editor, 296
Foley artists, 299
sound apprentice, 296
sound designer, 297
sound effects editors, 297–298
phases of, 292f
preparation techniques, 306–331
all in and mix approach, 306–307
audio CD sound libraries, 323
building in volume graphing and equalization, 326–327
digital fade choices, 314
graphic equalizer, creatively misusing, 320–321
organization, 331
separation of sound cues, 311
varispeed creations, 319
cast list, 303
code book, 303
continuity, 304
dupe picture and video dupes, 301–303
lined script, 303
production audio source, 303
supervising sound editor, 293–295
sound effect inventory database, 254–259
looking for audio files, 257–259
overview, 254
printouts, 256
sound effects
See also custom recording sound effects
importance of, 165
production, in dialog track, 376–377
temp, for spotting sessions, 185
sound events. See sound cues Sound FX menu, 610f
Sound Ideas publication firm, 323
sound librarian
cleaning up audio files, 240–242
complex sound effects mastering, 242–249
custom recording new sounds, 230
finding sounds in library, 230
mixed medium synchronous mastering, 252–254
multichannel mastering techniques, 251
optical track to magnetic film, 230–234
organizing sound library, 234–235
sound effect inventory database, 254–259
looking for audio files, 257–259
overview, 254
printouts, 256
stability of digital files, 235–240
traditional catalog database, 259–261
upgrading libraries to 96 kHz/24 bit format, 261–262
sound libraries, audio CD, 323
sound restoration. See audio restoration
sound roll column, dialog sequence sheet, 366
sound roll number, code book, 154
sound stages. See stages, Foley
sound team, video game, 602–605
sound transfer
assistant picture editor, 47–48
laboratory service, 47
production sound mixer, 48
sound units, 233
sounds, finding in library, 230
source sound, splitting off, 97–98
speakers, 247
center, 562
dedicated, 563
left and right, 562
surround, 563
theatrical layout, 562f
special effects, sound design for, 267–268
speed (rate), timecode, 139, 140
speed and equalization selector, Nagra IV-S, 536–537
Speed and Power indicator, Nagra IV-S, 551–552
spherical-binaural audio, 566–567
Spielberg, Steven, 193–195, 197
splitting off
binder dedicated to soundtrack notes, 187–188
notes on, critical need for precise, 186–187
overview, 183
production track, sizing up, 184–185
setting up, 186
temp music and temp sound effects, 185
spreadsheets, video game dialog, 614
square wave, 1-khz, 134, 136–137, 136f, 141
SRTs (standard reference tapes), 133–134
stability of digital files, 235–240
Stabilizer roller, Nagra IV-S, 541
stages, Foley
See also Foley
remaining quiet on, 455
stagnant ambiance, 98
standard reference tapes (SRTs), 133–134
STANDBY key/indicator, Fostex PD-6 Front Panel, 518
start and aways, custom recording vehicle, 206–207
start and idle, custom recording vehicle, 205–206
start marks, for film, 150–151, 150f
Steenbeck flatbed editing machine, 184
stereo capsule microphones, 99f, 100–101, 100f
Stereo High Sensitivity (ST.HS) mode, 550
stinging sound effect, 467, 468
ST/MONO monitor select switch, Fostex PD-6 Front Panel, 517
Stone, David, 181, 272–274, 273f
Stone, Oliver, 273
stops, custom recording vehicle, 207–208
Streeter, Tony, 359f string-offs, 456
Strip Silence option, Avid, 461
Stripe for Transfers line item, transfer budget, 52
studio microphone boom, 90
Stumpf, Graham, 38
subtlety, in sound design, 281
subwoofers, 562
supercardioid microphones, 81f, 82–88
features, 83
technical data, 83
supervising Foley editor, 441–442
supervising sound editor, 186
developing cut lists, 305
gathering sound material, 230
getting custom sound effects, 196–197
labor requirements chart, 295f
low-budget sound editorial, 335–336
spotting sessions, 186
surface pits, Foley stage, 432f
Sweet, Ken
custom recording sound effects, 191
Swift, George, 359f
sync, marking on film, 308–311
synchronization, timecode enabling, 139
synchronizers (sync-block), 138–139, 310f
four-gang, 310f
gangs, 150
multigang, 146
synchronous sound, 10
syncing film dailies, 146
synt score, 470
T
T Phantom power selector, Nagra, 555
tail leaders for film, 148–152, 148f
attention to detail, importance of, 151–152
Talvisota (The Winter War), 68f, 105–106
tape speed, information header, 76
Tape Speed selector, Nagra IV-S, 536f
tape thread path, Nagra IV-S, 537–539
Tape/Direct switch, Nagra IV-S, 543–544
Tascam DA-88 recorders, 102, 142, 143
TCM (Turner Classic Movies), 2
TC/Pilot Playback control, Nagra IV-S, 548
technical disciplines, 3
technologies. See emerging technologies
television production
film-rate conversion, 139
studio microphone booms, 90
television sound, Foley, 444–446
“TELEVISION VERSION MIX”, post-sound budget, 57
temp dubs, 52
sound-editorial budget, 52
temp mix, 184
temp music, for spotting sessions, 185
temp sound effects, for spotting sessions, 185
Tennessee, Nagra IV-S service centers in, 559
Tension roller, Nagra, 539
ten-ten cue technique, 327–328
Terror Tract, 74
test screening, 52, 56, 57, 158, 177–179
Texas, Nagra IV-S service centers in, 559
thatched fade-in technique, 311–312, 312f
theatrical speaker layout, 562f
The Thing, 29
explosion recording, 216–217, 218
frames per second (fps) rate, 2, 137–139, 140
30-frame drop-frame addressing mode, 140
30-frame nondrop addressing mode, 140
35mm digital soundtrack formats, 501f, 502f
35mm film
first trial, 327
head pop, 304
optical track, 231f
mag stripe, 133
magnetic fullcoat, 133
magnetic three-stripe, 133
thousand footers, 302
3D games, 607
three-stripe film stock, 35mm, 133
timbre, 266
Time Code Connector, Deva left panel, 511
TIME CODE IN connector, Fostex PD-6 Right Panel, 522
Time Code In/Out connector, Nagra IV-S, 557
TIME CODE OUT connector, Fostex PD-6 Right Panel, 522
Time Code panel, Nagra IV-S, 557–558, 557f
addressing modes, 140
ADR, 386
checking for drop/nondrop, 141
drop-frame, 141
as enabling synchronization, 139
formats, 140
frame rates, 140
mixing drop-and nondrop-frame sessions, 142
smart slate, 88
specifications for video transfers, 141
VITC, 142
timecode address, 139
TIME/DISP MODE key, Fostex PD-6 Front Panel, 517
Tiomkin, Dimitri, 465
tisks, in dialog track, 376
tone generators, 338
tool kit, 227
top panel, Aaton Cantar-X recorder, 523f
topic-roll-cue system, sound library, 234–235
total immersion technologies, 565–568
entertainment in total immersion, 567–568
practical application for training purposes, 567
Touch screen, Deva front panel, 509
track stripping, importing Foley stems into Pro Tools for for, 460–463
Track Wipe, 314
tracks, splitting off, 325–326
traditional catalog database, 259–261
transfer budget, 53f
transfer engineer
sound report, 370
syncing 1/4” tape, 371
transfer protocol, laboratory, 119–131
delivery format, 120
edge code and key codes on film, 124
important considerations regarding, 131
shot on film–cut nonlinear, 127–130
shot on film–cut nonlinear and conform, 124–127
shot on film–cut on film, 120–123
shot on video–cut nonlinear, 130–131
transmitter, radio, 96
transparency, dialog editing, 363
transport (layback) drive, 33
transport, Nagra IV-S, 540–541
Transport Control Buttons, Deva front panel, 509
Transport Window, Pro Tools, 414, 459
Trew, Glen, 71f
Troutman, Clancy, 345–346, 345f
Tuchel in and out connectors, Nagra IV-S, 552–557
external power pack, 555
EXT.NRS, 552
Line inputs, 552
Line outputs, 552–553, 556–557
microphone XLR connector, 553
microphone XLR inputs, 553–554
Output side, 555
phantom power selectors, 554–555
phase selector, 555
Time Code In/Out connector, 557
Turner Classic Movies (TCM), 2
turnover, to sound editorial, 300–301
20-bit system, digital audio, 135
25 frames per second (fps) rate, 140
25-frame addressing mode, 140
24frames per second (fps) rate, 139, 140
24-frame addressing mode, 140 29.97
24 frames per second (fps) rate, 137–139, 140
Twilight Zone; The Motion Picture, 379–380
2-channel sound report form, 79f
2-track print master, 57
type/model of recording device, information header, 76
U
UDF (Universal Disc Format), 515
ultra directional microphones, 82–88
Ultra Stereo, print mastering, 499
unblimped cameras, 28
unit production managers (UPM), 43
Universal Disc Format (UDF), 515
Unreal Tournament, 600
unwanted noises, in dialog track, 376
upgrading libraries to 96 kHz/24 bit format, 261–262
UPM (unit production managers), 43
USB connector, Fostex PD-6 Left Panel, 521
USB Port, Deva left panel, 511
USM 69 i stereo microphone, 100f
V
varispeed creations, 319
Varney, Bill, 23
vehicles
version date, ADR cue sheet, 400
version identification, ADR cue sheet, 400
version number, in cue sheet information header, 329
vertical interval timecode (VITC), 142
VFX (visual effects)
role of sound, 268
video games, 598
vibration, controlling, 90
video, cutting nonlinear, 130–131
audio techniques in action, 605–609
game development team, 598–602
designers and gameplay, 598–600
individual contributors, 597
production sound department for, 587–590
production studios, 597
publishers, 595
video transfers, timecode specifications for, 141
videotapes
ADR recordist and, 408
transfer, 373
Viskari, Olli, 68f
visual effects. See VFX
VITC (vertical interval timecode), 142
vocal specialists, 421
vocals, nonperformance, 240–241
onscreen output, 403f
preferences, 404f
project languages, 404f
volume control potentiometers, Nagra IV-S, 546–547
volume graphing
vowels, ADR cutting, 423
VU (volume unit) analog meter, 18–19, 76, 134, 135–136, 135f
W
water pit, Foley stage, 433–434, 434f, 435
waveform signature, increasing to see Foley cues, 461, 461f
WB Games’ Mortal Kombat vs. DC Universe, 592f, 596, 604
Webb, Jim, 96
All the President's Men, 103–105
California Split, 103
A Wedding, 103
Weitzman, Bernie, 577
Westerns, sound design for, 270–272
overview, 270
Westley, Scott, 345f
Wheymeyer, Warren, 8f
wild tracks (WT), 29–30, 77, 96–97, 147–148, 344
Williams, John, 468
wind buffet, 90
wipe cue technique, 328
wireless microphones, 27, 91–92, 94–96
Wolper, David, 151
wood rips sound effect, 222
woolly (Rycote Windjammer), 90–91
Word Clock Output, Deva left panel, 511
WORD IN terminate switch, Fostex PD-6 Right Panel, 522
WORD/VIDEO IN/WORD OUT connectors, Fostex PD-6 Right Panel, 522
work track, dialog track, 373
workstation signal path, 246f
workstation systems, 48
Workstation Transfer Exports, sound-editorial budget, 52
worldizing sound
WT (wild tracks), 29–30, 77, 96–97, 147–148, 344
Wyatt Earp, sound design for, 271–272
X
XLR connector, Nagra IV-S, 553
XLR inputs, Nagra IV-S, 553–554
X-Y microphone configuration, 98–99, 341–342, 342f
Y
Yarbrough, Larry, 10
Z
ZAXCOM DEVA 5.8 and DEVA 16 recorders, 509–512
left panel, 511
overview, 509
zeppelin wind screen, 90–91, 91f
zip drips, for Foley, 455