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Dialogue editing for motion pictures : a guide to the invisible art /
"In Dialogue Editing for Motion Pictures, Second Edition veteran film sound editor John Purcell arms you with classic as well as cutting-edge practices to effectively edit dialogue for film, TV, and video. This new edition offers: - A fresh look at production workflows, from celluloid to Digita...
| Clasificación: | Libro Electrónico |
|---|---|
| Autor principal: | |
| Formato: | Electrónico eBook |
| Idioma: | Inglés |
| Publicado: |
Burlington, MA :
Focal Press,
2014.
|
| Edición: | 2nd ed. |
| Temas: | |
| Acceso en línea: | Texto completo (Requiere registro previo con correo institucional) |
MARC
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| 100 | 1 | |a Purcell, John, |d 1957- | |
| 245 | 1 | 0 | |a Dialogue editing for motion pictures : |b a guide to the invisible art / |c John Purcell. |
| 250 | |a 2nd ed. | ||
| 260 | |a Burlington, MA : |b Focal Press, |c 2014. | ||
| 300 | |a 1 online resource | ||
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| 520 | |a "In Dialogue Editing for Motion Pictures, Second Edition veteran film sound editor John Purcell arms you with classic as well as cutting-edge practices to effectively edit dialogue for film, TV, and video. This new edition offers: - A fresh look at production workflows, from celluloid to Digital Cinema, to help you streamline your editing - Expanded sections on new software tools, workstations, and dialogue mixing, including mixing "in the box"--Fresh approaches to working with digital video and to moving projects from one workstation to another - An insider's analysis of what happens on the set, and how that affects the dialogue editor - Discussions about the interweaving histories of film sound technology and film storytelling - Eye-opening tips, tricks, and insights from film professionals around the globe - A companion website (www.focalpress.com/cw/purcell) with project files and video examples demonstrating editing techniques discussed in the book Don't allow your dialogue to become messy, distracting, and uncinematic! Do dialogue right with John Purcell's all-inclusive guide to this essential yet invisible art"-- |c Provided by publisher | ||
| 588 | 0 | |a Print version record. | |
| 504 | |a Includes bibliographical references and index. | ||
| 505 | 0 | |a Cover; Dialogue Editing for Motion Pictures; Title Page; Copyright Page; Table of Contents; Preface to the Second Edition; Preface; Acknowledgments; 1 What Is Dialogue Editing?; 2 The Story of Production Sound; Introduction; Success Has Many Fathers; Early Attempts at Sound in Movies; Feature-length Talkies; The Modern Era; 3 Film Sound Workflows: Then and Now; Classic Film Workflows; Single System Workflows; Film/Video Hybrid Workflows; Working in an NTSC Environment; Working in a PAL Environment; Digital Cinema; 4 On the Set; The Picture Team; The Sound Team; Other Departments at the Shoot. | |
| 505 | 8 | |a Sound EquipmentSyncing Picture and Sound on the Set; Sound Reports; Getting What You Need; Give the Post-Production Team What They Need; 5 The Sound Department; 6 A Quick Look at Picture Editing; 7 Moving the Film from Picture to Sound; The Picture Cutting Room; What You Need in Order to Get Started; A Brief Detour to Understand How Film Became Digital; Exporting and Importing Sessions Using OMF/AAF; The Edit Decision List; Metadata; Performing the Assembly; Filenames; Back Up Your Files; 8 Working with Picture; A Brief History of Editing Sound Locked to Picture. | |
| 505 | 8 | |a The Trouble with Digital PictureTimecode Burn-Ins; 9 The First Screening; 10 Setting Up Your Editing Universe; The Monitor Chain; Sync Now!; Preparing Your Editing Workspace; Eliminating Redundant Regions; Scenes; Beeps, Tones, and Leaders; Wild Sound; 11 Editing Dialogue Tracks; Organizing Tracks; Scene-to-Scene Splits; Where to Edit; Shot Balancing; Room Tone; Shot Transitions: Basic Rules of Thumb; Working With Many Channels of Dialogue; Making Sense of a Scene; Production Sound Effects; Making Guide Tracks; Editing Dialogue for Television; 12 Image, Depth, and Perspective. | |
| 505 | 8 | |a Dialogue in the SoundscapeDepth; Focusing on One Character in a Group; Perspective; Choosing the Crossfade; 13 Dialogue Editing Tips and Tricks; 14 Dealing with Noise; What is Noise?; Transient Noises; Fixing Transient Noises; Alternate Takes; Reducing Ambient Noises; To Process or Not to Process; 15 ADR; Replacing What Cannot be Fixed; Looping, ADR, and Postsync; Preparing for ADR; Organizing the ADR Process; The ADR Recording Session; Preparing Dialogue Tracks for ADR Editing; ADR Editing; Group Loop; Matching ADR to Production Sound; 16 Managing Your Time; Ask the Right Questions. | |
| 505 | 8 | |a Set Daily GoalsEstimate How Long the Editing Will Take; 17 Editing Production Sound for Documentaries; Documentary Sound Challenges; The Documentary Workspace; Typical Documentary Problems; Production Sound Effects; 18 When the Picture Changes; The Reconform Defined; Automated Reconforms; Manual Reconforms; 19 Preparing for the Mix; Talk to the Mixer; Check the Final Picture; Moving from One Platform to Another; Dealing With the Details; Packaging Dialogue Elements; Close the Cutting Room and Back Up the Project; 20 The Dialogue Premix; Premix Goals; Planning the Premix. | |
| 590 | |a O'Reilly |b O'Reilly Online Learning: Academic/Public Library Edition | ||
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