Issue link: https://digital.copcomm.com/i/711111
46 CINEMONTAGE / Q3 2016 information are placed on the visual reels, etc.] and turnover specifications. It's not uncommon to have the picture department send requests for sound effects while production is ongoing, weeks or even months before sound editorial starts up in earnest. I'll pull what I can from the sound library and obtain a copy of all production audio as early as possible. Setting up a central server from which the sound team can work is also done before the post process ramps up." For his part, Nanaumi likes to make his introductions to the picture assistants before a new TV show arrives. "I provide them with a copy of my sound specifications and make myself available to go over any concerns or questions," he says. "Since the sound assistant and the picture assistant are constantly transferring files back and forth to each other, it is key to have a good working relationship and to get these details worked out ahead of time. And I keep communications tight between myself and my sound supervisor. I need to know which editor is assigned to each episode so that I get the correct versions to the right editor." Sound turnover allows Sony's dialogue, sound effects and Foley editors to start cutting as soon as Nanaumi can get it to the main server. "Our effects and Foley editors can start cutting when the picture and AAF file is ready," he explains. "Our dialogue editors have to wait for all of that — plus the production dialogue assembly to be built — before they can start cutting. Dialogue assembly takes the most preparation and build time. I also encode the picture reference into different formats to ensure that it will be compatible with our Pro Tools systems; I make sure that the audio guides are in sync from start to finish. Dialogue, temporary ADR, music and effects are split into separate tracks, and cannot be mixed down into a single file. If there are any missing or corrupted files, I either fix or create replacements. Such errors could create downtime for the crew." INGEST VIA SHUTTLE DRIVES AND ASPERA TRANSFER "Nowadays, the main avenues for asset ingest is through shuttle drives and Aspera [high-speed file transfer software]," Cloud says. "More often than not, the film picture department is on the lot with us, so it just comes down to whatever works best. If I can deliver a turnover via a hard drive, that's fine; if things are hectic, Aspera works just as fast. When new materials arrive, I'll transfer them onto my assistant drive, rename the files and, once I'm certain everything is hunky dory, post it to the server. After updating various information sheets, I'll let the editors know that they can get to work." Nanaumi loads each TV episode's production dialogue through his Pro Tools system. "The process takes a couple of hours or more, depending on how much audio there is," he says. "At Sony, we still use good, old-fashioned shuttle drives that are hand delivered directly Preacher. AMC "If the ADR is happening in a separate location, the assistant sound editor should work with the picture assistants to get watermarks identifying the stages burned into the reels." – Matt "Smokey" Cloud