Issue link: http://digital.copcomm.com/i/1316380
M OT I O N P I CTU R E S O U N D E D I TO R S I 33 BLOCK? number, take number, camera roll number, and sound roll number. This information is kept by the continuity or script supervisor who also creates a log of other details such as a description of the coverage of each camera setup, which takes will be printed, and what lines of dialogue are included in each take. These details are invaluable information for both the picture and sound dialogue editors. The audio recording of the crack of the slate sticks coming together determines the audio sync point. The sticks coming together on the picture frame is the visual sync point that is matched with the audio crack on the mag. The two marked cues become the line-up points in a sync block for picture and audio assembly. The assistant picture editor assembles all printed takes of the picture and mag tracks of production sound recordings on a sync block. The film frame sync mark with the mag film sync mark is placed on separate gangs of the sync block and spliced together with succeeding takes from the scene. Then they are loaded onto individual reels for daily screening. After daily screening, where sync is checked and approved, both the film and mag reels are taken to an Edge Coding machine to print the same Edge Code letters and numbers on both reels. Edge Code numbers are the inked numbers printed on both the picture and mag sound reels to indicate sync between workprint and soundtrack. During editing, without the shot's head sink marks present in the edited shot, you can always have Above: A four-gang synchronizer. The cut picture is in the first gang, closest to the front. Sound cues are built into the fill leader, with sync footage notations bracked around the even foot frame. Far left: Butt Splicer Left: Sync block