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