Dialogue Editing What’s that? Goals of Dialogue Editing

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  • Dialogue EditingWhats that?

  • Goals of Dialogue Editing

  • Goals of Dialogue EditingOrganize the material and get to know it. Let the tracks tell you what to do.

  • Goals of Dialogue EditingOrganize the material and get to know it. Let the tracks tell you what to do.Smooth the transitions. Make each scene believable, dramatic and clear.

  • Goals of Dialogue EditingOrganize the material and get to know it. Let the tracks tell you what to do.Smooth the transitions. Make each scene believable, dramatic and clear.Fix articulations and remove noises. Take the filmmaking out of the film.

  • Goals of Dialogue EditingOrganize the material and get to know it. Let the tracks tell you what to do.Smooth the transitions. Make each scene believable, dramatic and clear.Fix articulations and remove noises. Take the filmmaking out of the film.Enhance the story. Create perspective, depth and focus.

  • Prepare for ADR recording.Determine proper sync.Prepare for the mix.Prepare for the M&E mix.Goals of Dialogue Editing (part 2)

  • Serve the Story

  • What Materials Must You Have Before You Start?OMF of locked picture, with all audio tracksVideo that matches this OMF (w/ TC burn-in)Original recordingsSound reportsEDLs: audio and videoScriptPicture continuities, if possible

  • OMF and Initial Tracks

  • Deleting dual mono information

  • Marking Scenes

  • Organize Wild Sound

  • Script Break-down

  • Single camera shootingScene 45: INT/night, Dinner at a restaurant 45: Wide establishment shot of everyone at the table45A: Betty CU45B: Bob CU45C: Blanche CU45D: medium shot, POV kitchen

  • Single camera shooting

  • Pop Music Track Plan

  • Organized Tracks

  • Three Rules of Thumb#1Whenever possible, play only one source of room tone at a time.

  • Wall of Room Tone

  • Correct Way

  • Three Rules of Thumb#2Evenness is a trade-off between noise and smoothness.

  • Smooth Transitions

  • Three Rules of Thumb#3Design scenes that require the least amount of processing.

  • Which Room Tone?

  • Remove NoisesCrew noisesActors noisesLocation noisesReasonable noises that nonetheless dont belong in the film.

  • Remove NoisesThe solution: room tone and alternate takes.

  • Typical Radio Microphone Click

  • Most Clicks Arent Easy to See

  • Add Depth and Focus

  • Spotting the loops

  • Cue Sheets

  • Motion Picture Workflows

  • Classic Film Workflow

  • Single-system NTSC

  • NTSC: Shoot Film/Record Tape

  • NTSC: Shoot Film/Record Disk

  • Single-system PAL

  • PAL: Shoot Film/Record Tape

  • PAL: Shoot Film/Record Disk

  • Book Cover

    **Responsible for all production sounds, whether those used in the picture edit or other material such as wild sounds.*******All crafts in filmmaking are about telling the story. From the dolly grips to the continuity person to the digitizer to the mixer, everyone has a little part of himself or herself to give.*****OMF (below), copied into the dialogue tracks for editing. This is more-or-less what you get when you start.Why not just make it nice? Use cleaning the closet example.*One of the things you must do before editing is to determine whats split track (or wider) and whats dual mono.*Break the reel into scenes. This will help you many times and will aid the other editors and the mixer.*Having a list of wild sounds availaible BEFORE you begin a scene may give you a better idea how to cut it, rather than just reacting to the problems in a scene.**Organize your scenes by shot.Sound source, not picture cut.

    Why is this done: each angle has its own issues.***A pop music song is organized by instrument, but each song in an album will likley have a different track layout.Think of a scene as one song, and a reel (or entire program) as an album.***The steady track of room tone does not alleviate tone mis*Here the tone is carried by the shots themselves, than by a supplemental tone track.******This is most of what we do.*This is what youd expect.*Many clicks are hard to spot.***************Buy the book.