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E-raamat: Dialogue Editing for Motion Pictures: A Guide to the Invisible Art 2nd edition [Taylor & Francis e-raamat]

  • Formaat: 446 pages, 13 Tables, black and white; 173 Halftones, black and white
  • Ilmumisaeg: 18-Jul-2013
  • Kirjastus: Routledge
  • ISBN-13: 9780203784570
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  • Taylor & Francis e-raamat
  • Hind: 230,81 €*
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  • Tavahind: 329,73 €
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Dialogue Editing for Motion Pictures: A Guide to the Invisible Art 2nd editionSuurem pilt
  • Formaat: 446 pages, 13 Tables, black and white; 173 Halftones, black and white
  • Ilmumisaeg: 18-Jul-2013
  • Kirjastus: Routledge
  • ISBN-13: 9780203784570
Teised raamatud teemal:
Taylor & Francis e-raamatudRohkem infot Taylor & Francis e-raamatute kohta
Raamatu kodulehekülg: https://www.taylorfrancis.com/books/9780203784570
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 insiders 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 book

Dont allow your dialogue to become messy, distracting, and uncinematic! Do dialogue right with John Purcells all-inclusive guide to this essential yet invisible art.
Preface to the Second Edition xi
Preface xiii
Acknowledgments xvii
1 What Is Dialogue Editing?
1(3)
2 The Story of Production Sound
4(12)
Introduction
4(1)
Success Has Many Fathers
5(2)
Early Attempts at Sound in Movies
7(4)
Feature-length Talkies
11(2)
The Modern Era
13(3)
3 Film Sound Workflows: Then and Now
16(21)
Classic Film Workflows
17(6)
Single System Workflows
23(1)
Film/Video Hybrid Workflows
24(5)
Working in an NTSC Environment
29(4)
Working in a PAL Environment
33(1)
Digital Cinema
33(4)
4 On the Set
37(16)
The Picture Team
38(1)
The Sound Team
39(3)
Other Departments at the Shoot
42(1)
Sound Equipment
42(3)
Syncing Picture and Sound on the Set
45(2)
Sound Reports
47(1)
Getting What You Need
47(3)
Give the Post-Production Team What They Need
50(3)
5 The Sound Department
53(5)
6 A Quick Look at Picture Editing
58(6)
7 Moving the Film from Picture to Sound
64(32)
The Picture Cutting Room
65(2)
What You Need in Order to Get Started
67(5)
A Brief Detour to Understand How Film Became Digital
72(3)
Exporting and Importing Sessions Using OMF/AAF
75(4)
The Edit Decision List
79(9)
Metadata
88(2)
Performing the Assembly
90(2)
Filenames
92(2)
Back Up Your Files
94(2)
8 Working with Picture
96(15)
A Brief History of Editing Sound Locked to Picture
96(3)
The Trouble with Digital Picture
99(9)
Timecode Burn-Ins
108(3)
9 The First Screening
111(4)
10 Setting Up Your Editing Universe
115(25)
The Monitor Chain
116(1)
Sync Now!
117(2)
Preparing Your Editing Workspace
119(6)
Eliminating Redundant Regions
125(3)
Scenes
128(1)
Beeps, Tones, and Leaders
129(4)
Wild Sound
133(7)
11 Editing Dialogue Tracks
140(58)
Organizing Tracks
141(7)
Scene-to-Scene Splits
148(1)
Where to Edit
149(3)
Shot Balancing
152(9)
Room Tone
161(10)
Shot Transitions: Basic Rules of Thumb
171(3)
Working With Many Channels of Dialogue
174(13)
Making Sense of a Scene
187(3)
Production Sound Effects
190(3)
Making Guide Tracks
193(3)
Editing Dialogue for Television
196(2)
12 Image, Depth, and Perspective
198(15)
Dialogue in the Soundscape
198(2)
Depth
200(2)
Focusing on One Character in a Group
202(1)
Perspective
203(7)
Choosing the Crossfade
210(3)
13 Dialogue Editing Tips and Tricks
213(8)
14 Dealing with Noise
221(57)
What is Noise?
222(3)
Transient Noises
225(5)
Fixing Transient Noises
230(12)
Alternate Takes
242(21)
Reducing Ambient Noises
263(12)
To Process or Not to Process
275(3)
15 ADR
278(45)
Replacing What Cannot be Fixed
278(2)
Looping, ADR, and Postsync
280(2)
Preparing for ADR
282(3)
Organizing the ADR Process
285(9)
The ADR Recording Session
294(6)
Preparing Dialogue Tracks for ADR Editing
300(3)
ADR Editing
303(14)
Group Loop
317(3)
Matching ADR to Production Sound
320(3)
16 Managing Your Time
323(10)
Ask the Right Questions
323(2)
Set Daily Goals
325(4)
Estimate How Long the Editing Will Take
329(4)
17 Editing Production Sound for Documentaries
333(10)
Documentary Sound Challenges
333(1)
The Documentary Workspace
334(4)
Typical Documentary Problems
338(3)
Production Sound Effects
341(2)
18 When the Picture Changes
343(12)
The Reconform Defined
343(5)
Automated Reconforms
348(2)
Manual Reconforms
350(5)
19 Preparing for the Mix
355(10)
Talk to the Mixer
355(1)
Check the Final Picture
356(2)
Moving from One Platform to Another
358(3)
Dealing With the Details
361(2)
Packaging Dialogue Elements
363(1)
Close the Cutting Room and Back Up the Project
363(2)
20 The Dialogue Premix
365(19)
Premix Goals
366(3)
Planning the Premix
369(1)
Mixing Models (A Bit of History)
369(4)
The Mechanics of Mixing
373(5)
The Final Mix
378(3)
Back to the Box
381(3)
Afterword 384(2)
Appendix A Dialogue Editing in a Nutshell 386(7)
Appendix B Track Template for a Typical Small Film's Dialogue 393(2)
Glossary 395(18)
Bibliography 413(4)
Index 417
Emmy recipient John Purcell has over 30 years of varied studio experience in picture and sound. He has edited projects ranging from documentaries and concerts, to presidential campaigns and television series, to feature films and classical albums. On top of editing dialogue for movies, he writes training programs for audio engineers, and teaches at film schools in the Middle East and in Latin America.
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