MPSE Wavelength

W hile both digital and analog production and post-production workflows are similar in many ways, they are quite different in their media formats. In sound editing, both analog and digital usually create in the final mix six sound stems: Dialogue, ADR, Effects, Foley, Stereo Music. With digital picture and audio, usually the same number of stems are designed for 2.0 mixes. The digitized data is kept in a file- based system that can be randomly accessed. The synchronization between the image and audio is through timecode generated from a master timecode clock starting at a start mark on each reel's head leader. This information becomes part of the metadata and other editorial data generated by the camera and digital sound recorder. With an analog (sprocketed film- based) system, synchronization between picture and sound is mechanical. Throughout the entire audio post-production workflow, the image and audio remain separate elements (double system). The visual is on perforated film with sprocket perforations that run along both edges of 35mm film (four sprocket holes per frame). Sprockets are what I consider the analog equivalent of digital timecode. The audio is recorded on a quarter-inch recorder and then transferred to the 35mm single-stripe magnetic film, which magnetically carries the analog audio signal. Single- stripe mag is used because most dialogue and sound effects are recorded monophonically. The monophonic recordings can be placed in a multi-channel field at the mix session for placement corresponding to their video field location. In 3.0 and above formats, the dialogue is usually not panned but laid down on the center channel (LCR). The exceptions can be stereo atmosphere or background recordings. These stereo recordings are transferred to two separate single- stripe mono magnetic film tracks (labeled Left and Right). Full coat mag stock is used primarily for recording ADR takes, mixed-down stereo music, and mixing DX and ADR, FX, Foley, and Music to separate tracks (stems) at the final mix. During both editing and playback, the picture and magnetic audio track are simultaneously threaded through a sprocket drive system such as a double-system projector with a magnetic playback capability, such as a Moviola Upright, a Flatbed editor, or a frame counter system such as a sync bock. At the shoot, sync between the film camera and the sound recording device is created visually by the film frame that captures the two clapper sticks coming together on the slate. This camera shot will also include a visible ID. Written on the slate is the production number, scene WHAT'S A SYNC BY WILLIAM DANNEVIK MPSE One of the advantages of getting an MFA from USC Cinema, besides having George Lucas and Walter Murch as classmates, was that the degree allowed me to teach at the college level during editorial unemployment periods. One of those times, when I was teaching at USC ('94-'98), analog film/sound editing was still being taught, along with Avid Media Composer and Pro Tools. I had brought the first Pro Tools system to USC Cinema, so I taught both analog and digital sound design. When teaching at the Savannah College of Art and Design ('02-'07), instruction in Avid/Pro Tools editing was all that was oŒered. Digital editing had replaced film completely in professional situations with most post-production workflows. A whole generation of my sound students had no experience with analog sound editing. So, it was no surprise that during one of my lectures, I got the question, "What's a Sync Block?" Far left: 35mm magnetic film stock Left: Moviola upright

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