2. Dialogue Editing What’s that?

3. Goals of Dialogue Editing

4. Organize the material and get to know it. Let the tracks tell you what to do.Organize the material and get to know it. Let the tracks tell you what to do.

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

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

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

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

9. Serve the Story

12. What Materials Must You Have Before You Start? OMF of locked picture, with all audio tracks Video that matches this OMF (w/ TC burn-in) Original recordings Sound reports EDLs: audio and video Script Picture continuities, if possible

14. OMF and Initial Tracks

15. Deleting dual mono information

16. Marking Scenes

17. Organize Wild Sound

19. Script Break-down

20. Single camera shooting Scene 45: INT/night, Dinner at a restaurant 45: Wide establishment shot of everyone at the table 45A: Betty CU 45B: Bob CU 45C: Blanche CU 45D: medium shot, POV kitchen

21. Single camera shooting

22. Pop Music Track Plan

23. Organized Tracks

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

25. Wall of Room Tone

26. Correct Way

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

28. Smooth Transitions

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

30. Which Room Tone?

31. Remove Noises Crew noises Actor’s noises Location noises “Reasonable” noises that nonetheless don’t belong in the film.

32. Remove Noises The solution: room tone and alternate takes.

33. Typical Radio Microphone Click

34. Most Clicks Aren’t Easy to See

35. Add Depth and Focus

37. Spotting the loops

38. Cue Sheets

40. Motion Picture Workflows

41. Classic Film Workflow

42. Single-system NTSC

43. NTSC: Shoot Film/Record Tape

44. NTSC: Shoot Film/Record Disk

45. Single-system PAL

46. PAL: Shoot Film/Record Tape

47. PAL: Shoot Film/Record Disk

49. Book Cover