Issue link: https://digital.copcomm.com/i/1490686
M OT I O N P I CTU R E S O U N D E D I TO R S I 15 At the time of writing, Sounds In Sync has just released v5 of EdiLoad. V5 brings a new assembly window and the return of being able to import a PTX file directly again, as well as export scene change and picture cut tracks, all features that have been absent since v3. Perhaps the biggest addition to EdiLoad in v5 is the ability to export an assembly as an AAF. This removes the need to use the field recorder function in Pro Tools, making it possible to import the assembly into any software that will take an AAF. Nuendo, Logic and Reaper friends, take note. If you edit dialogue and are not familiar with EdiLoad, go visit soundsinsync.com now. You'll thank me! To find out more about this software that has become part of my workflow on every project I work on, I caught up with creator Mark Franken to find out what makes this software tick. Korey: Mark, thanks for chatting with us. Before we get into it, I'd love to know how you first got into working in sound for film? Mark: I was working in the West End of London at a music post-production house cutting records where I was getting tired of cutting 12-inch 45s (dance music) at dance club levels when the manager told me about a video post house around the corner that was setting up a new sound department. I got the job at the company "Tele-Cine" and worked there for two years on a wide variety of sound projects from mixing international versions of Hollywood movies for video release, to track laying and mixing documentaries for the BBC using AMS Audiophile/Logic 2 and DAR Soundstation. It was a great introduction to working in sound for picture. At the end of 1994, I moved back to Sydney and worked for several years editing sound effects and dialogue for drama TV. I then went freelance and started working on feature films, my first film being The Quiet American, followed by The Lord of the Rings: The Two Towers in New Zealand, the country I was born in. I continued to work freelance on films, eventually gravitating toward dialogue editing and dialogue supervision. K: As a dialogue editor, what are (or were) some of the biggest challenges for you personally? M: On larger films, the biggest challenge was finding ways to fulfill a director's creative process, or anticipating what that process might look like, while working within the limitations of the equipment or resources one had at the time. This was a particular challenge while editing dialogue for animation movies like Happy Feet 2 and supervising the dialogue record and edit for Peter Rabbit. The later required a custom workflow and app where recordings needed to be logged, linking lines to a particular script version, with the ability to track these lines through editorial and back to sound post for each turnover and then be able to link the clips in Pro Tools back to the original recordings so different mics could be selected while preparing sessions for pre-mix. K: Talk to me about Sounds In Sync. What prompted you to develop this software and make it available to the public? M: The software was created to fill a need or to automate a process that I saw while working as a sound editor. Then as more people used my software, I received requests from clients for additional features or for whole new applications.