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Dialogue editing for motion pictures : a guide to the invisible art / John Purcell.
Publisher: New York : Focal Press, 2014Edition: Second editionDescription: xviii, 427 pages : illustrations (black and white) ; 24 cmContent type: text | still image Media type: unmediated Carrier type: volume001: 27479ISBN: 0415828171 (pbk.) :; 9780415828178 (pbk.) :Subject(s): Motion pictures -- Editing | Dialogue in motion picturesDDC classification: 778.53| Item type | Current library | Collection | Call number | Copy number | Status | Date due | Barcode | |
|---|---|---|---|---|---|---|---|---|
| Book | MAIN LIBRARY Book | 778.53 PUR (Browse shelf(Opens below)) | 1 | Available | 100119 |
Enhanced descriptions from Syndetics:
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 editing Expanded 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 another An insider's analysis of what happens on the set, and how that affects the dialogue editor Discussions about the interweaving histories of film sound technology and film storytelling Eye-opening tips, tricks, and insights from film professionals around the globe A 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.
Previous edition: 2007.
Includes bibliographical references and index.
Table of contents provided by Syndetics
- Preface to the Second Edition (p. xi)
- Preface (p. xiii)
- Acknowledgments (p. xvii)
- 1 What Is Dialogue Editing? (p. 1)
- 2 The Story of Production Sound (p. 4)
- Introduction (p. 4)
- Success Has Many Fathers (p. 5)
- Early Attempts at Sound in Movies (p. 7)
- Feature-length Talkies (p. 11)
- The Modern Era (p. 13)
- 3 Film Sound Workflows: Then and Now (p. 16)
- Classic Film Workflows (p. 17)
- Single System Workflows (p. 23)
- Film/Video Hybrid Workflows (p. 24)
- Working in an NTSC Environment (p. 29)
- Working in a PAL Environment (p. 33)
- Digital Cinema (p. 33)
- 4 On the Set (p. 37)
- The Picture Team (p. 38)
- The Sound Team (p. 39)
- Other Departments at the Shoot (p. 42)
- Sound Equipment (p. 42)
- Syncing Picture and Sound on the Set (p. 45)
- Sound Reports (p. 47)
- Getting What You Need (p. 47)
- Give the Post-Production Team What They Need (p. 50)
- 5 The Sound Department (p. 53)
- 6 A Quick Look at Picture Editing (p. 58)
- 7 Moving the Film from Picture to Sound (p. 64)
- The Picture Cutting Room (p. 65)
- What You Need in Order to Get Started (p. 67)
- A Brief Detour to Understand How Film Became Digital (p. 72)
- Exporting and Importing Sessions Using OMF/AAF (p. 75)
- The Edit Decision List (p. 79)
- Metadata (p. 88)
- Performing the Assembly (p. 90)
- Filenames (p. 92)
- Back Up Your Files (p. 94)
- Working with Picture (p. 96)
- A Brief History of Editing Sound Locked to Picture (p. 96)
- The Trouble with Digital Picture (p. 99)
- Timecode Burn-Ins (p. 108)
- 9 The First Screening (p. 111)
- 10 Setting Up Your Editing Universe (p. 115)
- The Monitor Chain (p. 116)
- Sync Now! (p. 117)
- Preparing Your Editing Workspace (p. 119)
- Eliminating Redundant Regions (p. 125)
- Scenes (p. 128)
- Beeps, Tones, and Leaders (p. 129)
- Wild Sound (p. 133)
- 11 Editing Dialogue Tracks (p. 140)
- Organizing Tracks (p. 141)
- Scene-to-Scene Splits (p. 148)
- Where to Edit (p. 149)
- Shot Balancing (p. 152)
- Room Tone (p. 161)
- Shot Transitions: Basic Rules of Thumb (p. 171)
- Working With Many Channels of Dialogue (p. 174)
- Making Sense of a Scene (p. 187)
- Production Sound Effects (p. 190)
- Making Guide Tracks (p. 193)
- Editing Dialogue for Television (p. 196)
- 12 Image, Depth, and Perspective (p. 198)
- Dialogue in the Soundscape (p. 198)
- Depth (p. 200)
- Focusing on One Character in a Group (p. 202)
- Perspective (p. 203)
- Choosing the Crossfade (p. 210)
- 13 Dialogue Editing Tips and Tricks (p. 213)
- 14 Dealing with Noise (p. 221)
- What is Noise? (p. 222)
- Transient Noises (p. 225)
- Fixing Transient Noises (p. 230)
- Alternate Takes (p. 242)
- Reducing Ambient Noises (p. 263)
- To Process or Not to Process (p. 275)
- 15 ADR (p. 278)
- Replacing What Cannot be Fixed (p. 278)
- Looping, ADR, and Postsync (p. 280)
- Preparing for ADR (p. 282)
- Organizing the ADR Process (p. 285)
- Tire ADR Recording Session (p. 294)
- Preparing Dialogue Tracks for ADR Editing (p. 300)
- ADR Editing (p. 303)
- Group Loop (p. 317)
- Matching ADR to Production Sound (p. 320)
- 16 Managing Your Time (p. 323)
- Ask the Right Questions (p. 323)
- Set Daily Goals (p. 325)
- Estimate How Long the Editing Will Take (p. 329)
- 17 Editing Production Sound for Documentaries (p. 333)
- Documentary Sound Challenges (p. 333)
- The Documentary Workspace (p. 334)
- Typical Documentary Problems (p. 338)
- Production Sound Effects (p. 341)
- 18 When the Picture Changes (p. 343)
- The Reconfirm Defined (p. 343)
- Automated Reconfirms (p. 348)
- Manual Reconfirms (p. 350)
- 19 Preparing for the Mix (p. 355)
- Talk to the Mixer (p. 355)
- Check the Final Picture (p. 356)
- Moving from One Platform to Another (p. 358)
- Dealing With the Details (p. 361)
- Packaging Dialogue Elements (p. 363)
- Close the Cutting Room and Back Up the Project (p. 363)
- 20 The Dialogue Premix (p. 365)
- Premix Goals (p. 366)
- Planning the Premix (p. 369)
- Mixing Models (A Bit of History) (p. 369)
- The Mechanics of Mixing (p. 373)
- The Final Mix (p. 378)
- Back to the Box (p. 381)
- Afterword (p. 384)
- Appendix A Dialogue Editing in a Nutshell (p. 386)
- Appendix B Track Template for a Typical Small Film's Dialogue (p. 393)
- Glossary (p. 395)
- Bibliography (p. 413)
- Index (p. 417)
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