Issue link: http://digital.copcomm.com/i/1152266
Next, I spoke with one of those dialogue editors, JASON KRANE. Again, I wanted to start with the basics. WHAT DOES A DIALOGUE EDITOR DO? We take the assembled sound rolls built from the production mixer's recordings and select the best takes or angles that we think will help the re-recording mixer navigate each scene. IT SEEMS LIKE YOUR ASSISTANTS DO A GREAT DEAL OF ORGANIZING TO PRESENT YOU WITH ALL OF THE MATERIAL FROM SET. DOES THAT MEAN THAT ALL OF THE SHOWS ARE THE SAME? No, not at all. Every show is different, every episode actually. The difference is due to the different picture editorial teams. They all have a different way of functioning, and that works its way through to us in the assembly process. The delivery for a particular scene could be two tracks' wide or 12, depending on the team and the scene. And, obviously, we have to sift through all of it to make sure we are making the best choices. WHO DO YOU DELIVER TO AND WHAT DOES THAT DELIVERY CONSIST OF? We deliver to the re-recording mix stage technician who works directly with the mixers. Each mixer has a specific way in which they want their dialogue to show up. We talk with the mixers and the stage techs to find out what they are expecting, and we get it as close as we can. It can be very specific. In terms of what we are sending, again, every show is different, but it will consist of the edited production's dialogue, possibly with some noise reduction, options for different mics or performances, added lines of ADR, efforts-breathing, production fill (non-verbal background noise from set), and PFX (production effects, a door slam from set for example), for the FX mixer. This all goes on a server where the stage tech pulls it down and gets it under faders for the mixers. And that brings us to re-recording mixer VICKI LEMAR. I was glad to speak with her specifically because she had been an ADR mixer before becoming a re-recording mixer. Meaning, she could fill us in on ADR and group record; subsets of dialogue that are not generated on set. WHAT DOES AN ADR MIXER DO? An ADR mixer places the appropriate microphones for the recording on the ADR stage, records and edits the new performances, and plays them back to the actor and supervising sound editor for approvals. WHAT IS THE WHERE, WHAT, AND WHY OF ADR? It is primarily done on a dedicated stage at a post sound facility. However, ADR mixers are often doing remote records with actors in other locations via an ISDN phone connection or, more commonly these days, over the internet via a plugin. Conversely, in the case of a show like Hawaii Five-O, the production had a trailer built on set to do ADR since the show shot on the islands and the post-production was being handled in Los Angeles. In either case, the show's supervising sound editor creates a timecode cue sheet with a reason for an ADR recording. There could be an airplane passing over set polluting a line, the director might want a different performance, a line might change or be added because the script had evolved. In each case, we would use a boom mic similar to the one used on set and an iso mic on the actor's clothes. "EVERY SHOW IS DIFFERENT. THE DELIVERY FOR A PARTICULAR SCENE COULD BE TWO TRACKS' WIDE OR 12, DEPENDING ON THE TEAM AND THE SCENE." –DIALOGUE EDITOR JASON KRANE D������, I��. 25209 Avenue Tibbitts Valencia, CA 91355 Phone (661) 607‐0206 Fax (661) 257‐2236 www.denecke.com Email: info@denecke.com D������, I��. Makers of the original SyncBox ® Introduces the SB‐4! More features and higher stability than before.