By John Purcell
Discussion enhancing is a vital but invisible a part of filmmaking. Do it correct, and not anyone notices. Do it incorrect, and your movie or video sounds messy, distracting, and unrealistic. this can be a e-book for those who have to edit construction sound for movie, television, or video yet have been by no means taught the right way to do it. It is going step-by-step in the course of the procedure and covers the entire workflows you will definitely come across. effective operating practices are emphasised all through, so that you learn how to keep time and steer clear of pointless repetition.
Many discussion editors are hobbled via a scarcity of figuring out of the non-sound points of filmmaking. in contrast to editors who reduce results, backgrounds or Foley, a discussion editor's paintings is without delay tormented by what has long past on ahead of. How a movie was once shot, recorded and edited will dramatically impression the discussion modifying method. a lot of this publication, then, bargains with issues which at the start look don't seem to be discussion. you'll find overviews of movie photo and sound postproduction--film, tape, NTSC, friend, 24p, and HD. There are summaries of movie photograph enhancing, OMF manipulation, and ADR administration.
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Additional info for Dialogue Editing for Motion Pictures: A Guide to the Invisible Art
Figure 2-5 shows the PAL workflow. North Americans, remember that you’ll never run into frames 25, 26, 27, 28, or 29 when working in PAL. Source video and source audio will have the same timecode, of course, since this is single system. ) two video frames later than you usually would, since it must be 48 film frames before the first frame of action. So, rather than placing the sync pop for reel 1 at 00:59:58:00, for example, place it at 00:59:58:02. This way, when the video image is scanned to film, there will indeed be 48 frames between the plop and the beginning of the reel.
With sample rates of up to 192 kHz and 24-bit resolution, sound detail and dynamics are vastly improved. Also, the location mixer can add metadata notes to the soundfiles and can painlessly provide individual unmixed tracks as well as mixdowns for the picture editor. ) It’s almost too good to be true. Effective use of this new technology, however, entails a bit more than swapping out the old kit for new. Just as picture and sound cutting room procedures and culture had to retool when sprockets fell to digital workstations, so too must the location mixer and editorial team modify some of their work habits to fully exploit the advantages of hard-disk field recorders.
The endlessly ringing phone, the crying baby in the next room, the downstairs neighbors who won’t give us any peace . . these sorts of things must be heard for the scenes to make sense. Moreover, as focus groups become ever more common, directors feel that their unfinished films must sound as “finished” as possible. Right or wrong, filmmakers assume that a public audience (or even an audience of studio executives) can’t appreciate an unfinished work. As a result, Avid edits are becoming more and more loaded with temp SFX, temp ADR, temp music, and temp Foley.
Dialogue Editing for Motion Pictures: A Guide to the Invisible Art by John Purcell