Issue link: https://digital.copcomm.com/i/1521235
performances. Fig. 7 & Fig. 8 is the delivery session that I got from the ADR stage. You can see that eight channels of sound are recorded for each take, including a mono summed track. Stiv had gone through and programmed each line that I had on my sheets. He also put markers for every cue. This proved to be useful for me when I was editing as well. Fig. 9 is a shot of one of the captions with the character of Lyle, played by Justin Jackerson, voiced by Bert Emmett. After I culled through and cleaned out all the empty tracks from the ADR session, I imported it into my already edited "production sound" session. As I mentioned before, this was mostly camera sound but it picked up enough movement to create a base track for the ADR to sit in. I could scroll down to find other takes (because they were different colors). Fig. 10 Red was original production take, purple was new ADR, light blue was from the miked takes shot upstairs on the day of production, and dark blue was an alternate take from the original performance. Part of being a Dialogue Detective (and also a Sound Detective) is figuring out the best way to solve a problem. I'm not saying that what I ended up doing in my session was the "best" solution, but it was the one that worked. For the sound design, Hilari and I discussed the concept of "Deaf space." Once we were in the central location of the play, which takes place in an isolated cabin in the woods, I asked if we should have sounds such as footsteps and/or movements. Would the sound design be from the Deaf perspective of the actors on stage/camera or from a hearing perspecitve for the people watching? The sound editor in me wanted to have footsteps and background sound. But since this project was unique and not a traditional film, Hilari wanted to lean in the direction of having sound presence so that it wasn't a silent film yet not add in additional layers. They had a nice recording of the stage presence, so I used that as a layer. But I wanted some stereo ambience. The stage presence had a very present hum, which I took out with some NR (de- In my first edit session with Hilari when we were choosing all the takes she liked, I had 516 tracks! It included all the takes of the ADR, the two performances of the original shooting day, and all the individually miked actors from the stage performance (with a few takes of those as well). I ended up color-coding the various takes so that even when I moved them out of their original tracks, I could identify what take it was by its color. That came in very handy. I could immediately go to the purple takes, find what I needed and pop it up into my Select tracks and it would retain its "purple-ness." I learned that if you go to Preferences and DISPLAY, click NONE for Default Track Color Coding and select Track Color for Default Clip Color Coding, it will retain the color of the clip regardless of what track you put it on. This saved us a lot of time as DEAR DIALOGUE DETECTIVE Fig. 10 20 M PS E . O R G Fig. 9