Cover; Dialogue Editing for Motion Pictures; Title Page; Copyright Page; Table of Contents; Preface to the Second Edition; Preface; Acknowledgments; 1 What Is Dialogue Editing?; 2 The Story of Production Sound; Introduction; Success Has Many Fathers; Early Attempts at Sound in Movies; Feature-length Talkies; The Modern Era; 3 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; 4 On the Set; The Picture Team; The Sound Team; Other Departments at the Shoot.
Sound EquipmentSyncing Picture and Sound on the Set; Sound Reports; Getting What You Need; Give the Post-Production Team What They Need; 5 The Sound Department; 6 A Quick Look at Picture Editing; 7 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; 8 Working with Picture; A Brief History of Editing Sound Locked to Picture.
The Trouble with Digital PictureTimecode Burn-Ins; 9 The First Screening; 10 Setting Up Your Editing Universe; The Monitor Chain; Sync Now!; Preparing Your Editing Workspace; Eliminating Redundant Regions; Scenes; Beeps, Tones, and Leaders; Wild Sound; 11 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; 12 Image, Depth, and Perspective.
Dialogue in the SoundscapeDepth; Focusing on One Character in a Group; Perspective; Choosing the Crossfade; 13 Dialogue Editing Tips and Tricks; 14 Dealing with Noise; What is Noise?; Transient Noises; Fixing Transient Noises; Alternate Takes; Reducing Ambient Noises; To Process or Not to Process; 15 ADR; Replacing What Cannot be Fixed; Looping, ADR, and Postsync; Preparing for ADR; Organizing the ADR Process; The ADR Recording Session; Preparing Dialogue Tracks for ADR Editing; ADR Editing; Group Loop; Matching ADR to Production Sound; 16 Managing Your Time; Ask the Right Questions.
Set Daily GoalsEstimate How Long the Editing Will Take; 17 Editing Production Sound for Documentaries; Documentary Sound Challenges; The Documentary Workspace; Typical Documentary Problems; Production Sound Effects; 18 When the Picture Changes; The Reconform Defined; Automated Reconforms; Manual Reconforms; 19 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; 20 The Dialogue Premix; Premix Goals; Planning the Premix.
What Is Dialogue Editing; Things You Need to Know about Postproduction; A Quick Look at Picture Editing; The Sound Department; Getting Sound from the Picture Department to the Sound Department; Files, Back-Ups and Burn-Ins; Screening the OMF; Managing Your Time; Getting Started; The Editing Begins; Image, Depth and Perspective; Repairing Damage; Conformations; ADR; Preparing for the Mix.
