SOUND EDITING

1
SOUND EDITING

• The Critical Stage

2
INTRODUCTION

• Often ignored
• Can make/break a production
• Realist
• Sounds as close to natural as possible
• Modernist
• Abstractions of sound
• Post Modernist
• Requires major imagination to interpret

3
NON-LINEAR AUDIO EDITING

• Same process as video
• Compression not as necessary-lower frequencies
• Maintains high quality
• Allows maximum flexibility
• Careful level settings necessary
• CD - 44 or 48kHz at 16 or 32 bits

4
AUDIO FOR VIDEOTAPE

• Editing same as videotape
• Tracks p. 368
• Linear can be edited separately
• Pulse Code Modulation (PCM)
• Imbedded within video
• Must be edited simultaneously
• Through a DAW or mixer

5
FILM SOUND EDITING

• Magnetic p. 372
• 1/4 or R-DAT dubbed to fullcoat
• Individual voices, SFX, music
• Dubbed through mixer sync pix
• Fullcoat spliced with tape
• Sent to lab with conformed pix rolls
• If pix is digitized for editing, sound is also

6
AUDIOTAPE EDITING

• Physically cut and spliced
• Cutting block
• Marking pen
• Sharp razor
• Faster the recorded speed, easier to edit
• Non-linear through a computer

7
MIXING AUDIO/SOUND I

• Combine various sound simultaneously
• Through some type of board
• Equalization (EQ)
• Modifying levels of specific frequencies
• Attenuating or amplifying
• Mixing log-cue sheet p.379

8
MIXING SOUND/AUDIO I I

• Multi-track mixing
• Ping-ponging p. 380
• Looping- Automatic Dialogue Recording (ADR)
• Foley- Post recording of SFX
• SFX
• Created live, pre-recorded tapes, CDs, discs
• Library effects, Spot effects, actual effects