Dialogue Editing for Motion Pictures A Guide to the Invisible Art

ISBN-10: 0415828171
ISBN-13: 9780415828178
Edition: 2nd 2014 (Revised)
Authors: John Purcell
List price: $49.95 Buy it from $32.50 Rent it from $21.57
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Description: Produce professional level dialogue tracks with industry-proven techniques and insights from an Emmy Award winning sound editor. Gain innovative solutions to common dialogue editing challenges such as room tone balancing, noise removal, perspective  More...

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Book details

List price: $49.95
Edition: 2nd
Copyright year: 2014
Publisher: Taylor & Francis Group
Publication date: 7/18/2013
Binding: Paperback
Pages: 448
Size: 7.50" wide x 9.25" long x 1.00" tall
Weight: 1.826
Language: English

Produce professional level dialogue tracks with industry-proven techniques and insights from an Emmy Award winning sound editor. Gain innovative solutions to common dialogue editing challenges such as room tone balancing, noise removal, perspective control, finding and using alternative takes, and even time management and postproduction politics.In Dialogue Editing for Motion Pictures, Second Edition veteran film sound editor John Purcell arms you with classic as well as cutting-edge practices to effectively edit dialogue for film, TV, and video. This new edition offers:A fresh look at production workflows, from celluloid to Digital Cinema, to help you streamline your editingExpanded sections on new software tools, workstations, and dialogue mixing, including mixing "in the box"Fresh approaches to working with digital video and to moving projects from one workstation to anotherAn insider’s analysis of what happens on the set, and how that affects the dialogue editorDiscussions about the interweaving histories of film sound technology and film storytellingEye-opening tips, tricks, and insights from film professionals around the globeA companion website (www.focalpress.com/cw/purcell) with project files and video examples demonstrating editing techniques discussed in the bookDon’t allow your dialogue to become messy, distracting, and uncinematic! Do dialogue right with John Purcell’s all-inclusive guide to this essential yet invisible art.

John Purcell is an Adjunct Professor at the Centre for Work, Organisation and Wellbeing at Griffith University, Australia, a Visiting Professor at Bath University School of Management, UK, a Deputy Chairman of the Central Arbitration Committee, and an arbitrator with ACAS, UK.

Preface to the Second Edition
Preface
Acknowledgments
What Is Dialogue Editing?
The Story of Production Sound
Introduction
Success Has Many Fathers
Early Attempts at Sound in Movies
Feature-length Talkies
The Modern Era
Film Sound Workflows: Then and Now
Classic Film Workflows
Single System Workflows
Film/Video Hybrid Workflows
Working in an NTSC Environment
Working in a PAL Environment
Digital Cinema
On the Set
The Picture Team
The Sound Team
Other Departments at the Shoot
Sound Equipment
Syncing Picture and Sound on the Set
Sound Reports
Getting What You Need
Give the Post-Production Team What They Need
The Sound Department
A Quick Look at Picture Editing
Moving the Film from Picture to Sound
The Picture Cutting Room
What You Need in Order to Get Started
A Brief Detour to Understand How Film Became Digital
Exporting and Importing Sessions Using OMF/AAF
The Edit Decision List
Metadata
Performing the Assembly
Filenames
Back Up Your Files
Working with Picture
A Brief History of Editing Sound Locked to Picture
The Trouble with Digital Picture
Timecode Burn-Ins
The First Screening
Setting Up Your Editing Universe
The Monitor Chain
Sync Now!
Preparing Your Editing Workspace
Eliminating Redundant Regions
Scenes
Beeps, Tones, and Leaders
Wild Sound
Editing Dialogue Tracks
Organizing Tracks
Scene-to-Scene Splits
Where to Edit
Shot Balancing
Room Tone
Shot Transitions: Basic Rules of Thumb
Working With Many Channels of Dialogue
Making Sense of a Scene
Production Sound Effects
Making Guide Tracks
Editing Dialogue for Television
Image, Depth, and Perspective
Dialogue in the Soundscape
Depth
Focusing on One Character in a Group
Perspective
Choosing the Crossfade
Dialogue Editing Tips and Tricks
Dealing with Noise
What is Noise?
Transient Noises
Fixing Transient Noises
Alternate Takes
Reducing Ambient Noises
To Process or Not to Process
ADR
Replacing What Cannot be Fixed
Looping, ADR, and Postsync
Preparing for ADR
Organizing the ADR Process
Tire ADR Recording Session
Preparing Dialogue Tracks for ADR Editing
ADR Editing
Group Loop
Matching ADR to Production Sound
Managing Your Time
Ask the Right Questions
Set Daily Goals
Estimate How Long the Editing Will Take
Editing Production Sound for Documentaries
Documentary Sound Challenges
The Documentary Workspace
Typical Documentary Problems
Production Sound Effects
When the Picture Changes
The Reconfirm Defined
Automated Reconfirms
Manual Reconfirms
Preparing for the Mix
Talk to the Mixer
Check the Final Picture
Moving from One Platform to Another
Dealing With the Details
Packaging Dialogue Elements
Close the Cutting Room and Back Up the Project
The Dialogue Premix
Premix Goals
Planning the Premix
Mixing Models (A Bit of History)
The Mechanics of Mixing
The Final Mix
Back to the Box
Afterword
Dialogue Editing in a Nutshell
Track Template for a Typical Small Film's Dialogue
Glossary
Bibliography
Index

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