Issue link: https://digital.copcomm.com/i/1530856
20 C I N E M O N T A G E W H A T O U R M E M B E R S D O Q: Where are you currently employed? Parabolic NY, a postproduction facility in Manhattan's Flatiron district. Q: Current projects? This year, I've worked as a dialogue editor and supervising ADR (Automated Di- alogue Replacement) editor for two feature films: "Psycho Killer" and "On Swift Hors- es." I'm currently a supervising ADR editor on the TV show "Dexter: Original Sin." Q: Describe your job. I'm a sound editor focusing on dialogue and ADR. My work is highly technical and demands meticulous attention to detail. The primary goal of dialogue editing is to ensure that the audio flows smoothly, allowing ambient sounds to transition seamlessly between shots, and that every line of dialogue is clear to the audience. REBECA LINDENFELD SOUND EDITOR Dialogue editing also involves identifying and removing any extraneous noises in the production sound such as crew footsteps or off-screen movements that should not be present. For instance, if two characters are walking in a scene but we hear the footsteps of other crew members, it can disrupt the viewing experience. Another part of my job as a dialogue ed- itor is to address sync issues and unwanted crosstalk that occurs when multiple charac- ters' lines overlap unintentionally. Picture editors sometimes select takes from pro- duction sound that don't belong to the shot or take we see on screen. (Production sound is the audio recorded during the filming of a show.) This can often lead to mismatched sounds from dialogue, breaths, or footsteps. My role is to rectify these inconsistencies while honoring the performances chosen by the director and editor. The second aspect of my work involves supervising and editing ADR. This process involves recording dialogue in a studio to add new lines or replace the ones that weren't captured effectively on set. When we receive a turnover from the picture depar tment (a turnover is par t of the process of transferring a locked cut from editorial to finishing), it usually includes an "ADR Tracker," a document that details the lines of dialogue that need to be recorded and their respective time codes. We also typically receive an AAF file (Advanced Authoring Format; a multimedia file format that enables the transfer of audio projects between digital audio workstations and other postproduction software). This file