SOUND EDITING The Critical Stage

INTRODUCTION  Often ignored  Can make/break a production  Realist –Sounds as close to natural as possible  Modernist –Abstractions of sound  Post Modernist –Requires major imagination to interpret

NON-LINEAR AUDIO EDITING  Same process as video  Compression not as necessary-lower frequencies  Maintains high quality  Allows maximum flexibility  Careful level settings necessary  CD - 44 or 48kHz at 16 or 32 bits

AUDIO FOR VIDEOTAPE  Editing same as videotape  Tracksp. 368 –Linear can be edited separately –Pulse Code Modulation (PCM)  Imbedded within video  Must be edited simultaneously  Through a DAW or mixer

FILM SOUND EDITING  Magneticp. 372 –1/4” or R-DAT dubbed to fullcoat –Individual voices, SFX, music –Dubbed through mixer & sync pix –Fullcoat spliced with tape –Sent to lab with conformed pix rolls  If pix is digitized for editing, sound is also

AUDIOTAPE EDITING  Physically cut and spliced –Cutting block –Marking pen –Sharp razor  Faster the recorded speed, easier to edit  Non-linear through a computer

MIXING AUDIO/SOUND I  Combine various sound simultaneously  Through some type of board  Equalization (EQ) –Modifying levels of specific frequencies –Attenuating or amplifying  Mixing log-cue sheetp.379

MIXING SOUND/AUDIO I I  Multi-track mixing –Ping-pongingp. 380  Looping- Automatic Dialogue Recording (ADR)  Foley- Post recording of SFX  SFX –Created live, pre-recorded tapes, CDs, discs –Library effects, Spot effects, actual effects