Issue link: http://digital.copcomm.com/i/832212
38 CINEMONTAGE / Q2 2017 per scene — and thus the options for repairing problems with the select takes. We try and pare down our ADR lists by repairing dialogue as much as possible and looking for alternate takes, using individual syllables to tightly match tracks." The dialogue editor concedes that his most difficult task comes from dealing with costume noise. "With metal armor, flowing dresses and heavy costumes, I need to reach into the boom and lavalier tracks to secure good takes," he explains. "Some costumes can interfere with both sources. But I don't go too crazy cleaning up the cloth movements; if I go too far, the resulting edit can sound choppy or lifeless." What distinguishes Game of Thrones is the amount and quality of its Foley. "With this in mind, I aim for a very clean dialogue track by doing my best to clean up cloth movement, footsteps, production effects and other non- dialogue elements from the production track," Bercovitch continues. "But then, I split these elements off from the main dialogue track and fill the holes with clean fill tone so that they can be blended with or replaced by Foley without affecting the overall dialogue level. While the resulting track can sound a little sterile when played in isolation, hopefully it creates a space where the details in the Foley — and backgrounds, effects and Loop Group, for that matter — can shine through." The supervising dialogue editor has developed a color-coded Pro Tools template "with 16 dialogue tracks, four PFX tracks of door closes, footsteps and cut downs — these are useful for the M&E Stems — plus the ADR and Loop Group tracks." SOUND-EFFECTS EDITING Following a spotting session with the sound team, Katona will develop his list of effects elements. "From experience, I know that I should look at what the Foley team will be producing and concentrate on my hard effects," he says. "While I might cut the horse steps — simply for reasons of picture sync — Foley will handle the Game of Thrones. HBO Tim Kimmel and Paula Fairfield.