Issue link: https://digital.copcomm.com/i/1475409
M OT I O N P I CTU R E S O U N D E D I TO R S I 13 According to Joan, the area of post- production is "like a giant Rubik's cube." There are so many people involved. It's a very untapped post-production position. Years ago, Verna Fields (editor of Jaws and best friend to my mom) told me when they sent her the French version of Jaws for review, Verna found a glaring error. She had lived in France and knew French very well. One of the translations (in French) that came up was "Don't listen to him. He's a dirty Jew!" If she hadn't known French, she would have never caught that! International versions of films, TV shows, streaming platforms, and video games are dependent on careful preparation to preserve the natural integrity of the film's soundtrack so that audiences all over the world can enjoy a film in their own language. Since more and more projects are being prepared for a world stage, it might be a great place to look for an up-and-coming career in post-production, especially if you know a few languages. tracks. The dubbing director decides what goes where, if there's any questions, and the M&E from the mix stage is done. 5. The dubbing director will then take the copy of all the English from the film, which the mixer has made as a separate track. They will make a transcription of all the dialogue. This is called the "dialogue list." From there, another person makes a "defined dialogue list" because a lot of dialogue may be idiomatic and/or slang and the meaning of the original dialogue may get lost in translation! For example, someone saying, "He's going to Rykers for 12," needs some translating. "Rykers is a prison. Twelve (12) means 12 years." Anything that is shorthand, slang or hard-to-understand references need to be defined. Then another person adapts the meaning (definition) and translates it into their language and adapts the words for better sync. They try to find a word that means the same but that also could fit into the mouth. Joan says that the words "I love you" are very hard to translate! Imagine it as: "Te amo." There is no way that an "m" mouth movement would look like the "l" sound of "love." All of these things are taken into consideration. Then comes casting international (foreign) actors to match as closely to the original actor. This includes ADR group actors as well. If anything specific in English is shouted out, above the "walla" of the group, that needs to be put on the dialogue list so it can be translated and cast. Once all the foreign ADR is shot, it has to be edited. This is usually done by an editor who speaks the language it's dubbed in. Depending again on budget (indie versus studio film), it may be dubbed in that country or sometimes the film will come back to the United States to be dubbed by the original mixer with that country's language dubbing director on the stage. David Fluhr, CAS, mixer of Disney's Moana, for example, went to various countries to dub all its foreign versions. Peter Sullivan Sound Editor Peter Michael Sullivan, sound editor, designer, re- recording mixer, lost his brief battle with cancer and passed peacefully in hospice in Bethany, OK, the evening of June 20, 2022. Peter was born in Encino, CA, on August 5, 1964, to Mary Elizabeth Sullivan and James Frederick Sullivan. At age 5, he moved to Minneapolis with his mother and siblings. His creative gifts led him to study and work at the renowned Minneapolis Children's Theater Company and School where he became a lead sound technician in his teens. Peter's film work included such acclaimed films as the director's cut of Das Boot, Braveheart, The Abyss, What Dreams May Come, and the Kill Bill series among many notable others. He worked often at Soundelux in its heyday, and was considered a first-call sound designer, sound editor, and field recordist in the film industry. Peter also recorded one of the most iconic thunder recording libraries in film sound history with his original Hollywood Edge Signature series sound library, and recently, painstakingly remastered his original thunder master recordings into 32-bit, 96kHz sound effects for his own sound effects platform Spirit of Sound Effects, where he was also lovingly mastering his sound library for commercial usage. Peter's passion for his professional craft and love of adventurous global travel allowed him to create a massive sound library that contributed to numerous films and TV shows beyond the projects he personally worked on. He also had a great love for photography, and exhibited his signature black-and-white works in Asia, where he lived for several years. To his friends, Peter had a great sense of humor, a generous heart, strong opinions, an appetite for a good argument, and unusual compassion for the vulnerable. He was also a complex spiritual seeker, exploring Buddhism and later, rediscovering Christianity. He devoted the last years of his life to his faith and to creating his sound library to present to the sound community. Peter is survived by his siblings John, Andrew and Jennifer, and half siblings Adrienne and Jim.