avid film guide

Avid Xpress™ Guide to Filmmaking

too ls for s tory t e l l e r s ™

Preface . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 5

Overview . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 6

Preparation . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 9

Production + Post-Production Teams . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 9

On the Set . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 10

Lab + Transfer. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 12

Pulldown + Video Reference . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 15

Avid Xpress Input of Picture + Sound . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 17

Picture Editing . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 19

Output . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 22

Sound Design, Editing + Mixing. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 25

Sound Editorial Using AudioVision . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 25

Getting The Picture Cut Into AudioVision . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 25

Getting Ready To Edit. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 27

Re-recording Replacement Sound. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 30

Sound Design,Sound Editing. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 33

Dialog Editing . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 34

Sound Effects Editing. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 36

Music,Mixing, Pre-dubbing Mixing . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 37

Final Mixing, Mixing from AudioVision . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 39

Mixing from within Pro Tools. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 40

Finishing the Film. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 42

Summary . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 43

References . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 44

Table of Contents

3

This guide describes a popular post production method in which filmmakers can post a feature

film, including picture and sound, with integrated digital tools from Avid.This cost-effective

and streamlined method can be used in its entirety, or in select parts of the post process,

depending on the needs of the filmmaker.

This method assumes certain changes in the typical post production process,such as the

elimination of the workprint.However, the filmmaker can deviate from the digital method

at any point in the process.This guide contains a suggested process which can be modified

to fit the film budget.

The systems referenced throughout this guide are Avid Xpress, AudioVision, and Pro Tools.

Avid Xpress, which contains many of the same features as Avid’s award-winning Film

Composer® system, integrates the process with AudioVision and Pro Tools to produce the

industry’s most complete digital post production solution. Together, these products are helping

a whole new generation of filmmakers get their visions realized and their voices heard.

Preface

5

Avid Xpress with Matchback OptionReference Guide for Independent Filmmakers

No matter what part of the post production process the filmmaker is in, Avid has a product

that can address the task a hand. Many believe editing is the most exciting part of the process

because it is the first time that all parties involved with a film can see the fruit of their labor.

Editors typically begin by working on the dailies and then progress to editing the picture and

dialog for pace and rhythm.Ultimately, they will end up working and reworking scenes until

they meet the creative vision of the filmmaker. This is the forum in which the Avid Xpress

system shines.

Avid Xpress is Avid’s affordable digital nonlinear editing system.As an extension of the Avid

Media Composer® and Avid Film Composer® product family, Avid Xpress offers all of the tools

needed to post a feature film.The product’s Matchback Option creates 24 frame cutlists from

a 30 fps sequence.The Avid Xpress system offers both an offline and an online resolution,so

filmmakers can have all of their dailies online as they select the best moments to create the

film.Once the picture is locked,they can digitize the finished reels at a higher resolution, and

view them in a finished-quality output.This high production quality makes the process of shop-

ping the film around to distributors and festivals much easier. In addition,effects ranging

from simple fades and dissolves to complicated title sequences are easy to produce.Beyond

these powerful Avid Xpress features,the added integration with Avid AudioVision and

Avid/Digidesign’s Pro Tools systems put all of the most powerful audio editing and sweetening

tools at the filmmaker’s disposal.

O ve rview of Avid Solutions

6

The Avid Xpress system also benefits from the leadership position that the Film Composer

system has in the feature film market.In fact,the Film Composer system’s ability to produce

a negative cutlist for any sequence it creates is so unique that it earned an Award of Science

& Technical Achievement from the Academy of Motion Pictures and Science.This industry-

leading cutlist technology is available in Avid Xpress with the Matchback Option, in a stream-

lined and intuitive interface ideal for the independent filmmaker.

Once picture and dialog have been cut and locked,the process of sound and music editing can

begin. With integrated tools such as AudioVision and Pro Tools,the audio process can begin

instantly, as the filmmaker can easily launch a new application on the same system.By using

OMF® (Open Media Framework®),all media digitized and edited in Avid Xpress can easily be

transferred to AudioVision.There is never a need to go back and digitize audio from the origi-

nal sources via an EDL since the audio is already digital and on the hard drives.By digitizing

once and preserving the digital audio quality right from the beginning, filmmakers save time

and money, and ultimately improve the quality of their work.The entire post production

process can be described in a simple three step process:


7


8

Avid Xpress

Picture and dialog editing.EDL and

negative cutlists with a high resolution

picture for video distribution.

Avid AudioVision

Final dialog editing,ADR, effects and layout.

Avid/Digidesign Pro Tools

Music and final mix.

The Production + Post-Production Teams

Production and post-production process decisions are best addressed during pre-production.

Prior to shooting a film,the filmmaker should make a number of key decisions regarding

which post process to use and whether digital techniques will be included.Also, the filmmaker

must assemble the production and post-production teams.

Communication is vital to the successful completion of an independent film.By making every-

one aware of the elements,source media (DAT, Betacam tape, hard drive, etc.) and delivery

timing of the project,the filmmaker can literally save thousands of dollars in the end.Many

filmmakers have been blind-sided by unexpected expenses,but communications up front can

avoid these expenses.

The basic team members at this stage include:

Producer Sound mixer

Director Composer

Camera person Negative cutter

Sound person Lab representative

Picture editor Telecine transfer representative

Sound editor

In certain cases,the same person will fulfill several of these roles,wearing each of the hats

when appropriate.

Preparation

9

Many problems crop up at the end of the process when the filmmaker is in a hurry to see the

finished product and decisions are made without thinking through the consequences. Time is a

precious asset;if used wisely, it will save the filmmaker money in the long run.

On the Set

There are several preparations that can be made during production that will save time in

post-production and ultimately reduce the amount of error that can occur.The preparation is

exactly the same for all feature film projects regardless of budget or crew size.

It is important for the filmmaker to keep complete reports of everything done. This may seem

tedious at times,but keeping good camera and sound reports will help the lab track material

and prepare the film to the filmmaker’s specifications.Also, special instructions should be

clearly labeled on the film can.Through this method,the lab will always be able to refer back

to the reports for any additional information.

Good sound reports will help the picture editor and sound editor quickly identify the piece of

track they need.This way, they will always be able to quickly access even the more elusive wild

lines and ambient sounds that can often make a scene come alive.

One of the ways to correctly identify any frame, shot, take, or wild track is through the use

of timecode.This is a unique frame-based labeling system that is recorded on the sound and

Preparation

10

picture negative at the time of shooting.Sometimes referred to as in-camera timecode, it is a

small data block that gets exposed on every frame of negative. This timecode is also laid down

on the DAT or Nagra tapes. This is known as“production timecode” because itwastheoneused

during production and is different from the one that is generated during the telecine process.

Time-of-day timecode is the time of shooting expressed in SMPTE timecode format on the pic-

ture and sound. For example, if the filmmaker shoots a scene at 10:30 in the morning,it will

appear as 10:30:00:00 during playback.These timecodes can be optimized by inserting the

shoot date into the data stream as “user-bits.” So if a film was shot on March 8,1997 at

10:30 in the morning,the data for that shot would look like “080397 10:30:00:00.”

Everything logged will be against that timecode so it will be very easy to locate these shots at

a later point and add any other data to the database.In addition to this timecode, there will

be a unique name for each camera and sound roll.

It is also good for the filmmaker to have the camera and sound person look at their watches

before starting each sound roll and note the date and time on the box. Their watches will

always be within seconds or minutes of the actual timecode which is more than accurate

enough for the database.Once the roll is finished,the filmmaker should have the camera or

sound person look at their watches again and write down the finish time. This way, every roll of

picture will be easily associated with its corresponding sound roll.Because the filmmaker will

be charged by the hour for transferring dailies in the telecine, this technique can save a great

deal of time and money.

Preparation

11

This timecode reference between the picture and sound will also help the telecine operator

sync the filmmaker’s dailies at a faster rate, as he will be able to quickly reference a common

point between the two elements.

The type of film used is left to the director and DP, but the filmmaker should make sure that

the film has Keykode, indicated by a Keykode logo on the can. This is the data that

is needed later for the negative cutters so they can conform the negative to the data being

generated from the Avid Xpress editing system.

Lab + Transfer

It is advantageous for the filmmaker to start working with the lab, and especially the person in

charge of dailies,at an early point in the process.In most cases the lab will also be the same

facility where the filmmaker’s video dailies are created.Because the people in the lab see the

negative first,they can help the filmmaker spot exposure and camera problems right away.

It is very important for the filmmaker to learn about the transfer process.Most lab people are

more than happy to walk through the developing and printing process and demonstrate exactly

what happens to the film.They can also indicate the elements needed after the film is conformed.

For example, if the film is shot in Super 16 a lab may request that the negative conform have

four or more handles at the head and tail of each cut.The filmmaker in turn shares any issues

regarding the conforming of the negative and needs of the lab with its negative cutter.

Preparation

12

Keykode Description

The filmmaker should also prepare a transfer specification form for the film.This will help the

lab build an accurate cost estimate and will ensure that the work will meet the filmmaker’s

specifications.If a problem should arise, the filmmaker can refer to the form so that the prob-

lem can be corrected at the lab’s expense.

The specification should include:

Estimated total footage

Film type and gauge

Amount to be expected daily

Number of shoot days expected

One light or color–corrected

The following video daily specification should also be provided for a film conform project:

Punch the head of every camera roll

Sync audio transfer

Video type (Beta, 3/4,” Super VHS etc.)*

Letterboxing (1.66,1.85)**

Telecine Log file for every tape***

Burn-in windows of keynumber, pulldown (A, B,C,D) timecode and

production timecode****

Preparation

13

Punch Frame

* Indicate the type of tape to be used for the transfer. There are several considerations to take

into account at this s tage, including picture quality. The best quality in order of highest to

lowest is: Betacam,SVHS, 3/4” tape.High quality tape is recommended if the filmmaker is

planning on shopping the film around,as it can be re-digitized while preserving quality.

** Letterboxing will allow the filmmaker to see what the active part of the picture will be as

projected through a film projector. European standard is 1.66, while the American standard is

1.85 for non-widescreen film.If the filmmaker is looking for a video distribution deal, he may

want to bypass the letterboxing.Most films that are sold directly to video or television broad-

cast are not letterboxed.By transferring to a high quality source tape such as Betacam,an

online from the sources using a tape-to-tape color correction will save money by eliminating

the need to re-transfer the select or cut negative.

*** The Telecine Log file is an ASCII file that can be imported into a Avid Xpress system with

all the data points needed for EDL or negative cutlist conform.This eliminates the need for

logging. There are several file types on the market depending on the product used during

telecine.The most common types are: FTL from Evertz, ATN from Aaton,and FLEx from Time

Logic.All of these file types can be imported into Avid Xpress through an application called

Avid Log Exchange. Every Avid Xpress system has this application in the Avid Utilities folder.

**** Indicate the size and location of the burn-in windows through a drawing.Typically these

are put into the letterbox areas of the transfer so they are out of the active picture area and

Preparation

14

Window Burn

Telecine Transfer File

can be easily masked out during playback with a mask effect on Avid Xpress.If the filmmaker

decides against a letterbox transfer, then the request should be made for burn-in window

placement outside the safe-action area of the image.

There are two types of timecode used in cameras,one is from Aaton and the other from

Arriflex.The filmmaker may also want to make sure that the lab can take advantage of the

in-camera timecode.It is also important to verify that the lab has the appropriate hardware

to decode this information during the telecine transfer.

Another service the transfer facility can provide is a SimulDat, or a DAT of the audio that is

made during the telecine transfer process.This process provides a timecoded DAT of all origi-

nal audio sync sources that can match the video dailies. This is also helpful if the filmmaker

uses a non-timecoded DAT or Nagra during the shoot, as it is easy to go back to any source

element via timecode and an EDL.

Pulldown + Video Reference

It is important to remember that the film being edited after the telecine transfer is no longer

playing back at 24 fps (the original shoot speed),but 23.976 with a 29.97 fps video signal.

When the math is done, 29.97 is .1% slower than 30 fps. This is referred to as the pulldown,

or the slowing of the film to match the video rate.On the set it is essential for the camera to

be set to shoot 24 fps.The Nagra, or DAT, should be set to record at a speed of 30 fps with

Preparation

15

Letterboxing

30 fps non-drop timecode referenced to 60 Hz.All of these elements will be “video refer-

enced” during telecine to establish the same sync relationship as 24 is to 30.This is done by

slowing all the elements by .1% so they share the same relationship in the 29.97 video world.

By doing so, the filmmaker will have film running at 23.976 fps and audio reference at 59.94

Hz.Thus,the entire post production will be at this speed (the eye and ear cannot detect this

.1% difference),and ultimately when the optical is made for the soundtrack, it will also be

referenced to 59.94 Hz during the transfer. In the end, when the track is finally played back

on a 24 fps projector, it will then be in sync with the final cut negative.

Preparation

16

After the processing work is done, the lab will deliver a video tape of dailies,a FLEx file, and

a SimulDat (if requested) to the editing room.When first launched,the Avid Xpress system

will ask for a project name and a gauge for the film project—either 16 mm or 35 mm.

Because it involves the same Keykode counting scheme, Avid Xpress treats Super 16 mm the

same as 16 mm.

The editor will then be able to create bins where all source dailies can be stored, organized

and accessed.After converting the telecine data files through the Avid Log Exchange applica-

tion, these shot logs will be ready for direct import into each bin.A separate bin for each tape

should be created so that data can be easily located.Once the file is imported,the number of

master clips will correspond to the number of takes on the tape.Assuming the telecine opera-

tor took the time to label the scene and take fields,the clip will automatically combine these

two fields into a clip name.So scene 5 take 3 would show up as “5/3” in the clip name.

The editor will also see start and end timecodes represented by a keynumber in the “KN

Start” column and either an A, B,C, or D in the “Pullin” column. This is all the data that was

retrieved at time of transfer via timecode and Keykode readers.

Because human errors may have cropped up somewhere in the process,it is always good to

verify the telecine transfer to the actual negative.A little trick is to create “confidence lists”

which will provide assurance that the data in the bins truly reflects the data on the negative.

Avid Xpress Input of Picture + Sound

17

Confirming data between Avid Xpress and

Burn-in window

In the bin,the following columns,should be added from the headings menu:

Start

Camroll

KN Start

KN Mark-In

Clip Name

The editor should load every clip, one at a time, into the source pop-up monitor and mark an

“in” at the frame where the clap closes. This will create a keynumber for the frame in the KN

Mark-In column.Once this is done for every take on every camera roll,the bin can be printed

or the data exported as a “tab delimited” file found in the export menu. Once printed,the

editor should add this to all the other camera and sound reports and fax a copy to the

negative cutters, so they can cross reference any take to the negative.If there was a problem

in the transfer, they can tell what the real keynumber should be so that the editor can correct

the data in the bin.

Most Avid Xpress models come with an offline resolution called AVR 3s.This setting will pro-

duce, on average, 40 to 60 minutes of picture per 1 GB disk. The editor might want to consid-

er digitizing audio at 44.1 kHz,as there are a lot of sound effects libraries on CD,and CD

audio is 44.1 kHz. Keeping the project in 44.1 will allow direct importing of the sound

effects from CD so that everything can remain digital and of the highest quality.

Avid Xpress Input of Picture + Sound

18

Using bins to organize footage

Once done, the editor should create bins that contain ranges of scenes. For example, the first

bin is called “SCENES 1-10” the next bin is called “SCENES 11-20.” Before moving the

individual master clips to these bins,the editor should create a long sequence from the clips in

timecode order. In essence, this recreates a “virtual tape” which allows the editor to scroll

through a digital version of the tape without having to load it up in a deck.After completing

this phase, all the source clips should be placed into their bins so that the editing can begin.

One of the biggest advantages of digital nonlinear editing systems is that the editor can make

multiple versions of a scene, several scenes or the entire reel or movie.By exploring all of the

angles and versions available, the very best edit can be derived from the material at hand.

“Digital cuts,” or output to tape, can be worked on at any time, so the film can be taken

outside the editing environment.Often,watching the film in a different room or setting

provides fresh ideas.

One of the biggest problems for first-time editors is preparing the final edit for negative con-

form and sound editing. Bigger budget feature films have assistant editors to make sure that

the lists,lengths of effects andtypes of effects meet lab standards,but independent filmmakers

do not have this luxury. One of the first things to do and perhaps the hardest is to LOCK PIC-

TURE.It is very difficult for many filmmakers to say “this is the film,” especially if they are

using digital systems which make it easy to continue the editorial process. The larger budget

pictures can afford changes throughout the whole process and even weeks before the release.

But changes to the scenes and reels after the sound editor and music composer have done

their work only adds to the final cost,as everyone downstream has to redo their work.

Picture Editing

19

With an integrated process like Avid Xpress and AudioVision,changes are easy because they

can be updated quickly through the use of OMF. Any new changes can be output as a new

OMF sequence and opened in AudioVision.The sound editor can then pick up from there and

adjust the other tracks of the new sequence.

Before the sequences can be output for the negative cutlists and EDLs,it is up to the editor to

determine where the reel changes should be for the film.Because the negative cutter only has

1000 foot reels for 35 mm and 400 foot reels for 16 mm,it is best that the editor decide

where the changes occur.

The editor should create a sequence of the entire film.This should include front-end fades and

titles all the way to the credits at the end.Once this sequence is loaded,the editor can break

this one long sequence into several 1000 foot (35 mm) or 400 foot (16 mm) reels.One thou-

sand feet of 35 mm and four hundred feet of 16 mm is approximately 11 minutes and 6 sec-

onds long.Each reel should be no more than 10 1/2 minutes long,as an Academy leader will

be needed at the head and tail to compensate for reel change-overs during projection.

The editor should start at the beginning and use the “goto” master timecode as “+10:30:00.”

The blue bar will go 10 1/2 minutes into the sequence.Next,he can scroll around the area of

sequence and make sure that it is not in the middle of a scene.Also, he can check the music

score at this point to make sure that the new reel is not starting over a music passage. If it is,

he should back it up to the beginning of that scene. Usually, the breaks between reels 1 and

Picture Editing

20

2 are not as critical as the breaks between 2 and 3.After the negative conform and optical,

the film will be assembled into 2000 (35 mm) and 800 (16 mm) foot projection reels.The reel

changeovers will occur between reels 2 and 3,4 and 5, 6 and 7,8 and 9,and so on. A 90

minute film will be 9 reels long.

In the new bin that contains these reels,the editor should add an 8 second Academy leader

to the head and tail of every reel. If an Academy leader is unavailable, he can just digitize

8 seconds of black or other non-descript material to use as an Academy leader.

Once done, the editor should change the start timecode of each reel to match the reel number.

For example, reel 1 will be 01:00:00:00 and reel 2 will be 02:00:00:00.The first frame of

picture should be at the hour straight up timecode.So considering there is an 8 second

Academy leader on each reel,the start timecode for reel 1 will be 00:59:52:00. Reel 5, for

example, will be 04:59:52:00. This way everyone from sound editor to negative cutter will

know the reel they are using based upon the timecode.

The editor will also want to make sure that all fades and dissolves are of lab standards. The

cutlist tool will convert everything into film lengths so the editor can think in time and not in

film frames. The lengths should be kept as multiples of whole seconds or half seconds.Legal

dissolve lengths in NTSC 30 frame world will be: 15,30, 45,60,90,and 120 frames long.

In addition,the editor should make sure there are at least 20 frames between the end of one

effect and the start of another. This gives the negative cutter the room to A/B roll the negative.

Picture Editing

21

As mentioned earlier, at this point the filmmaker’s picture should be locked and all of the reels

should be in the bin.In our example, the bin will usually contain 9 sequences depending on the

length of movie, each one starting with a timecode that matches the reel number and

Academy leader at the head of each reel.

The picture editor should first generate OMF sequences for the sound editor.This should be

done by highlighting all sequences of the locked final reels and selecting “output” from the

File menu.The dialog box will now allow the editor to select “OMF Compositions only” as one

of the final steps to AudioVision.

The sound editor will also want to have access to all the “trims” or alternate takes to be able

to make changes to dialog. In order to provide the sound editor with all the digital audio

dailies,the picture editor should open each of the SCENE bins and create a sequence for all

the takes for a single scene. For example, the bin for SCENES 31-40 can be opened with and

all the takes for scene 31 selected. These should be dragged to the timeline to make a

sequence after having removed all the ”in” and “out” marks.These sequences will live in a

bin called “OMF Alternates.” Once completed,there will be as many sequences as scenes in

the movie. These sequences can then be selected and exported as OMF interchange composi-

tions. Once these files are imported into AudioVision,the sound editor will have direct and

instant access to every sound element in the film in a dedicated digital audio workstation.

The next step is to output the cutlists. These lists will be used by the negative cutter to

Output

22

conform the negative. Avid Xpress has a streamlined Cutlist Tool so that the editor only needs

to select the type of list to create the cutlist.If all the steps mentioned before have been

taken,creating a cutlist should be fast, accurate and easy. Different types of lists can be

created:Assemble, Optical,Scene Pull,and Dupe.Each of these lists provides information

from the sequence for different needs.

Assemble List: This list is used as the master list, indicating in sequential order how and

where the original negative needs to be cut and assembled.

Optical List: This list will layout every effect which is anything that is not a straight cut in

the timeline, such as a transition or segment effect.

Dupe List: This list will indicate where a piece of film has been used more than once.In

some cases this is necessary, but in others it is just an added expense that can be easily

handled. If there are a lot of these 1 or 2 frame dupes.These can be edited out. The editor

can create the dupe list at any time during the editing process to make sure these types of

dupes are eliminated.

Scene Pull: This list will pull all the takes from a scene or reel in their entirety. This is used

if the scenes are going to be pulled and re-transferred to print.

Output

23

The negative cutter will receive both a list or lists and a video of the digital cut.Because they

do not have a workprint as a picture guide, the digital cut video now becomes the “video

workprint.” This,along with the list,will provide picture and Keykode reference for a

successful negative conform.

Output

24

Sound Editorial Using AudioVision

AudioVision is a standalone fourth-generation digital audio workstation dedicated to editing,

re-recording,and conforming sound to picture.It uses the same video hardware as the

Avid Xpress system, allowing for seamless transfer of a film from the picture editorial stage

to sound editorial.

Getting the Picture Cut into AudioVision

Up until very recently, transferring a project from picture editorial to the audio editorial stage

involved the creation of video transfers of the final picture cuts and the export of lengthy

audio EDLs for the purpose of autoconforming all of a film’s source audio within the audio

editing system.In fact,many feature films are still posted using this method.

The beauty of this suggested post production process is that the editor only has to digitize the

audio and video once into Avid Xpress,as the Avid Xpress originated audio is the same audio

eventually used in the final mix.Not only that,but if the editor is working at a high picture

resolution, the Avid Xpress originated picture can be output as the final video master right

from AudioVision.

The process is simple.Once the picture has been locked down,the editor can export each reel

as OMF (as described previously) from within Avid Xpress.The editor can then take the Avid

Xpress drives and attach them to AudioVision’s Atto SCSI chain.Once the AudioVision system

Sound Design, Editing + Mixing

25

is booted up, the editor will need to take any “6.x MediaFiles” folders from AvidXpress and

place them into a new folder called “Media Files”. This should be done for each partition.Once

this is done, the editor can launch AudioVision.(Note:once the application has been launched,

AudioVision will automatically copy the audio from the Avid Xpress drives over to the

AudioVision audio SCSI chain.)

AudioVision will ask for the name of the project and a resolution. The sound editor must pick

the same resolution in which the picture was cut.In most cases this will be AVR 3S.Once the

editor is in the newly created AudioVision project,new bins will need to be created for import-

ing the Avid Xpress sequences.

A separate bin for each reel should be created in order to increase work efficiency. This elimi-

nates the need to wait for one gigantic bin containing the entire film to open,close, and auto

save since most editors usually work on one or two reels at a time.A suggested bin naming

convention could be Reel 001,Reel 002, Reel 003,etc.This naming convention will cause all

of the bins for the film to show up in chronological order within the project window.

Once all the necessary bins are created, the import process can begin.All reels can be selected

and imported as OMF. The Avid Xpress sequence, and all of the resulting master clips,will

appear in the bin.


26

Creating bins for sound post

Getting Ready to Edit:

The first thing that the sound editor should do when starting a project is to organize the

virtual work space within the AudioVision system.All the bins for the project can be stacked

on top of one another in the top left hand corner of the UI monitor (covering the deck control

window). Project,locators,timeline and meter windows can be resized so they neatly fit across

the top of the screen.

Once set up, the project window can be used to navigate through the bins.Double clicking in

the project window brings the desired bin to the foreground.Every editor has his own prefer-

ence as to how to set up his virtual work space, but it is important that the bins and sound

tools are immediately accessible.

Probably the most important thing to do before launching into the sound editorial process is

for the editor to sit down with the director and thoroughly spot the film.This means watching

the entire film and taking down detailed notes that cover the things that need to be done in

the sound editorial process.

It is very convenient to use the “Locator Window” for this task. The editor should keep the

following high-level items in mind when spotting each reel:

• Dialog editing: Is there dialog that needs to be replaced with an alternate take or

re-recorded all together?


27

Setting Up Your Virtual Workspace

• Foley: Are there scenes where people are moving (i.e.,walking, running, fighting),but

nothing can be heard?

• Sound Effects: Are there any sound cues that are needed to tell the story that were not

captured on location (i.e.,telephone rings, door slams,car starts,etc.)?

• Background Ambiance: What types of sound should there be in the background to set

the right mood or feel of any given scene (i.e.,crowd ambiance, country sounds, city

sounds, etc.)?

• Music: What music cues should there be? Where should they start and end? What’s the

feel and tempo?

By logging all of this information in the “Locators Window,” the editor can create a set of

virtual notes (or cue sheet) for the entire film. The Locators attach whatever text the editor

enters with a timecode number corresponding to whatever reel is currently in the timeline.

These locators become the blueprints for the entire audio editorial process.

It is extremely helpful if the filmmaker attaches a priority level to each locator before the text.

This allows the sound editor to focus on the most important things first,leaving the less

important,“nice to have” things for the end. It is very easy to get bogged down in the minutia

of reels 1 through 6 and never get to the important cues in reels 7 through 10.


28

Spotting the film with the locators window

By putting an indicator before the text that tells the editor which area of the sound the locator

applies to (i.e.,“SFX” for sound effects,“DIA” for dialog,“MX” for music,etc.),the sound

editor will be able to quickly pick out which cues to go after.

Once spotting for all reels is complete, it is helpful to put together a game plan that outlines

how to attack the entire audio editorial process.This can be done in either a spreadsheet

format or on a white board hanging in the editing suite. The things to think about at this

stage are:

• Dialog: How much ADR (Additional Dialog Replacement) needs to be recorded? How and

where will it get recorded? Is it acceptable to cut in alternate takes instead of incurring

the costs associated with ADR (i.e.,renting studio time, flying in talent,etc.)?

• Sourcing Sound Effects: What SFX are needed? Where can these be located (i.e.,sound

effects libraries/have custom sound effects recorded)?

• Music: In what format is the music being delivered? Where will each cue be cut in?

• Track Layout: How many tracks of sound are needed to make this project come to life?

Should it be on only 4 tracks? Should it be separate 16 track sequences for each area of

sound (i.e., dialog,hard SFX, soft SFX,backgrounds,etc.) and then mixed down in the

pre-dub stage?

• Mixing: Should it be mixed to mono, stereo or surround? If surround, what format (i.e.,

Ultra stereo, Dolby, etc.)?


29

• Define Delivery Format: What is the distribution format for this film,(i.e., film, video,

DVD,etc.)? To what format should it be output to? In addition to the final composite mix

(i.e. printmaster),a tape (typically a DA-88) containing isolated tracks of Dialog,Music,

and SFX stems should be run.This is useful for remixing,and for international distribution

where language dubbing can be completed without interfering with SFX and music. In the

case of international distribution,a remix may occur in that country so the filmmaker may

have little control over it.

The answers to these questions are different for every project. There is no single unified

formula for making great sound for independent films.Some films can get away with just four

simple tracks of sound (i.e.,Track 1: dialog,Track 2: sound effects, Track 3:ambiance, Track 4:

music).Other films require several layers of sound to make the drama on screen come to life

(i.e.,10 tracks of dialog,16 tracks of sound effects,8 tracks of Foley, 8 tracks of background

ambiance, etc.).It is up to the editor to define the requirements of the film and create a solid

plan of attack for getting the job done.

Re-recording Replacement Sound

Typically, low budget independent films do not have the luxury of recording replacement sound

such as ADR (Additional Dialog Replacement), Foley (live sound recorded in sync with picture

usually associated with body movement), or sound effects that cannot be found in a library.


30

Luckily, the AudioVision system provides a unique and highly sophisticated environment for re-

recording ADR, Foley and Sound Effects.In fact,the AudioVision ADR Loop Record tool is

probably the most sophisticated and powerful ADR recording tool available in the digital audio

workstation arena today.

The challenge to the editor is outside of the box,so to speak (i.e., outside AudioVision).The

sound quality of the final mix is only as good as what is put into it. If the editor re-records

noisy replacement dialog on a low quality microphone, the final mix is going to sound noisy

and low quality. For editors using AudioVision,the challenge is going to be getting a set of

high quality microphones and a quiet and acoustically proper recording environment.Excellent

quality microphones can be rented at low costs from a number of professional rental compa-

nies all across the country. The investment in quality gear is essential to turn out professional

quality work.

One option available is to rent microphones from a local rental house and record the required

ADR and sound effects right in the editing suite. Foley, or replacement sounds,are a bit more

difficult to perform in the editing suite, but depending upon what the editor is trying to do, a

lot can be accomplished. Computer sounds,and telephone dialing for example, are fairly easy

sounds to record. For more difficult foley effects,such as walking in snow, or exotic jungle

sounds,the use of a professional foley studio with many different types of “pits” or holes in a

floor with gravel,sand,leaves,and the like for footsteps is recommended.It is also possible to


31

rent or borrow a DAT machine and collect sounds,such as city sounds,traffic and airport

backgrounds, that may be more unique than CD library material.Often,the most efficient way

to accomplish these tasks is to roll the AudioVision system (if it is racked) into a recording

studio and use its microphones in this quiet and acoustically sound recording environment.It

is also a good idea for filmmakers to try and use the same microphone from the set so that the

quality of sound will be similar.

Regardless of which approach the editor takes,it is extremely important to create a thorough

ADR/Foley/sound effects log before the session begins. The ADR/Foley log is a detailed log of

items such as the lines that need to be recorded,the in and out points and the actor responsi-

ble for the lines. AudioVision allows the editor to easily make ADR logs by pulling the dialog

line that needs to be replaced right out of the sequence and dropping it into a bin.After that,

the editor can add any custom columns that are needed.

The ADR session can be run right from the AudioVision ADR Loop Record tool using the ADR

log as a guide.(Note: see the AudioVision User Guide for specifics on operating the ADR Loop

Record tool.)


32

The AudioVision ADR Loop/Record Tool

Sound Design

Sound design is the process of creating custom sound effects for a picture cue that do not

exist in the real world.A perfect example of sound design could be creating the sound of a

dinosaur growl.Because live dinosaur sounds are unavailable, the filmmaker could take other

animal sounds (i.e., elephant sounds, lion sounds, etc.),layer them on top of each other, and

apply different DSP (digital signal processing) to make them sound like a real dinosaur.

Pro Tools is the perfect application for this task,as clips or sequences can be easily exported

from AudioVision to Pro Tools. The sound designer can select the clip or sequence to be

exported and go to the file menu and export it as a Pro Tools session file.The sound designer

can then open the resulting session in Pro Tools.

Pro Tools III with TDM (Time Domain Multiplexing) allows for a plethora of real-time and

non-real-time digital signal processing.There are over 100 third-party developers who offer

DSP plug-ins for the Pro Tools III environment.Anything from reverb, chorus and delay to

de-clicking specializing and pitch shifting is available at a very reasonable cost.

Sound Editing

Now that an overall game plan for sound post has been established and all of the needed

re-recording has been done, the sound editorial process can begin.

Dialog Editing


33

The AudioVision system offers some outstanding tools for dialog editing.The EQ tool in

AudioVision is clip-based and offers four bands of real-time EQ with six different filter types

to balance dialog from one POV (point of view) to the next.

There will often be different ambient noise and levels as the POV changes from one shot to the

next.Nothing takes the viewer out of the drama of the film more than pumping background

noise that changes from shot-to-shot. The EQ tool can be used to match the overall EQ from

shot-to-shot as well as to eliminate extraneous noise at specific frequencies.

A common example is 60 cycle line hum.On location, the sound recordist has to frequently

set-up quickly and roll.In independent filmmaking,the working environment and equipment is

not always the highest quality, so line hum creeps up quite often in the location audio.

The AudioVision infinite notch filter lets the editor infinitely attenuate any given frequency with

variable queue, so line hum can be completely eliminated.However, if line hum occurs at

several different frequencies (these are usually harmonics over the 60 kHz fundamental) the

editor can call up another band of infinite notch and dial out the desired frequency.

Another great feature for dialog editing in AudioVision is the ability to bring in alternate takes

from Avid Xpress.As described in the Avid Xpress section,it is advantageous to make a

sequence for every scene with all of the takes related to that scene.These sequences can be


34

The Unique AudioVision EQ Tool

imported into AudioVision and used for dialog editing.

Because every take from the film is online, labeled and in a bin (or group of bins), searching

and sorting for an alternate take of dialog is easy. No other DAW (Digital Audio Workstation)

lets the editor do this as easily. So if a scene is set in the year 1493,and a commercial jet liner

flies overhead out of view of the camera, the editor can simply find that scene in the alternate

take bin and cut in a different dialog take.It may take a little bit of cutting and resyncing,

but it is usually worth it if the shot can be salvaged. Without AudioVision, the editor would

have to rummage through endless sound roll reports and DAT tapes to find the take.

Another powerful feature of AudioVision for dialog editing is absolute and relative level set-

tings. Clip-by-clip the editor can set the level of each sound element in a sequence.By adding

“edits” within clips,syllable level editing is not only possible, but in many cases required.This

allows the editor to have all the dialog up front and clear so it can be mixed.The hallmark of

a good dialog editor is that everything in his track is clearly audible, including sighs and other

emotional non-language human sounds. The mixer then has the option to mix it “up” or

“down.” In conjunction with the crossfade functionality of AudioVision,it is easy to balance

the relative dialog and natural sound levels from scene to scene in preparation for the

final mix.

Sound Effects Editing


35

As far as sound effects editing is concerned,there is no substitute for the AudioVision digital

picture and universe bar.The editor can locate any frame of video instantly with the universe

bar, making the process of spotting sound effects to picture fast and easy. With AudioVision

editing is done with picture instead of timecode.

Once again the bin functionality becomes invaluable.The editor can digitize an entire sound

effects library into a bin and have it completely online. The search, sift,and sort functions

allow the editor to quickly find and audition the needed SFX,and edit it into the sequence.

Once the right sound effect is located, it can be edited into the sequence in a number of differ-

ent ways:the editor can align the sound effect’s head or tail to the current position bar; align

the clip’s sync point to the current position bar; place the clip to timecode; or scrub the clip

across the current play bar.

A great tool for creating background ambiance is the AudioVision “Loop Replace” feature

which allows the editor to quickly select an area in the timeline and drop a sound effect into

the selection.The sound effect,such as a wind loop or room tone, gets automatically looped to

fill the entire selection. Because the reels come over from Avid Xpress with all of the picture

edits,the editor can quickly identify and mark new locations for loop replacing ambiance just

by scrolling through the picture track.

Music Editing


36

Music can be as easily placed as SFX. The editor can dial in a SMPTE address provided by the

composer, and place cues simply. In preparation for the mix,the music should be roughly

leveled,so that it is “up front” when it supports action or image, and “further back” when

it underscores dialog. The same crossfade capability that helps in dialog helps here too,

although it is likely that the editor will be using longer fade times to ride the music.

In terms of the director working with the composer, it is essential that all parties work to the

same “cut” with the same SMPTE burned into the picture.That way the composer can then

deliver a DAT, DA-88, PT session or AudioVision sequence with proper SMPTE addresses.

Nothing slows down production more than a non-time-coded tape with poor notes.

Mixing

At this point,all of the editing is complete and it is time to mix all of the tracks down to

either mono, stereo or surround formats.

Pre-dubbing/Mixing

First,it needs to be determined whether pre-dubbing is required. Pre-dubbing is the

process of mixing multiple elements in each area of sound down to a more manageable set

of tracks for the final mix. This decision should be made up-front,before the editing and

track layout stages.

In big budget feature film productions,there may be up to 400 tracks of audio spread across


37

the different areas of sound. To make the final mix more manageable, the mixing crew will

spend a considerable amount of time doing pre-dubs of each area of sound,reducing the num-

ber of final mix tracks from 400 down to a number that is manageable for the mixer and

appropriate for the equipment being used.

It is important to note that Hollywood productions can use two or three person mixing crews

with numerous assistants and support personnel.In the low budget independent arena,there

may be only one person doing all of the post-production including mixing,so it is best to

remember that a great job can be done on 8 tracks and a poor job on 48. Pre-dubbing is a

very important point in the process,as it can effectively increase the ease by which the mix

is accomplished.

If the editor takes the minimalist approach to sound post and sticks to only 4 tracks, the mix

is going to be very simple.In fact,90 percent of the mixing can be done right in the editorial

process with clip-based leveling. The editor can then use fader moves to do the complex level

riding that is not possible with clip-based leveling.

If the decision is made to use more than 8 tracks (for DIA, SFX, MX,BG,etc.), pre-dubs may

be an option. Independent films typically post anywhere from 8 to 48 tracks deep over all of

the areas of sound.In this type of situation,it is well worth the editor’s time to mix down

pre-dubs within each area of sound.

There are no hard and fast rules for this, usually mixing down all hard effects to a stereo pair


38

or 4 channel surround is typical. Mix dialog to one mono track, mix Foley to one mono track

or a stereo pair. The editor will have to decide what makes the most sense for the production.

The key is to make the final mix as simple and flexible as possible.

Final Mixing

With the Avid Xpress and AudioVision systems,there are two choices for the final mix:either

mix right from within AudioVision using an external mixing console such as the 02R from

Yamaha, or export the reels as Pro Tools session files and mix within the Pro Tools III TDM

mixing environment.

Mixing from AudioVision

The benefit of mixing material within AudioVision is that mixing is done to a nonlinear digital

picture. This means that tape transport time (i.e.,FF, RR, cueing,etc.) is eliminated from the

mixing process.The mixer can set “in” and “out” points and loop through a scene if desired

and jump to any point in the film.

If the mixer is working with an 02R or some other timecode-driven automated console, the

process is simple. The AudioVision LTC output can be attached to the console’s LTC input.

Whenever the “TC Out” button is enabled in the deck control window, the console’s automa-

tion will align to AudioVision when it plays.

In this scenario, it is possible to use the mixing console’s onboard signal processing, including


39

reverb, delay and dynamics,as well as patch in outboard devices.One nice advantage to a

mixing console is that it also allows other elements to be brought in,such as music that may

be coming from a properly recorded and SMPTE striped DAT or DA-88. In this case, the

sound mixer does not have to re-record the music.Stems,sub-mixes, or final mixes can be

created using sources from AudioVision directly back to AudioVision which mimics the well

established film sound mixing process.Additionally, a full mix that is printed to AudioVision in

this manner can be exported directly back to Avid Xpress using OMF.

Mixing from within Pro Tools

In this scenario, Pro Tools offers a multitude of world-class affordable digital signal processing

tools. All mixing takes place within the Pro Tools application. As mentioned previously, there

are over 100 third-party TDM developers offering DSP plug-ins for the Pro Tools III TDM mix

environment. Just about any type of signal processing is available, including reverb, delay,

dynamics,chorus,pitch shifting,specializing,and EQ.

For this method,the editor will have to output digital cuts of the picture for each reel and

sync Pro Tools to a video deck. This is because Pro Tools does not playback the Avid Xpress

digital picture.Each reel in AudioVision is saved as a Pro Tools session file.

Once the session file is opened in Pro Tools, mixing can begin. Pro Tools offers world-class


40

Mixing with Pro Tools III TDM

mix automation with absolute and relative level update, break point automation editing,

DSP plug-in automation,and much more.

Mixing can be done with the mouse, or there are also several third-party mixing control

surfaces such as the HUI from Mackie designs that provide a tactile hardware mixing and

editing surface. The HUI and other similar mixing control surfaces provide flying faders

and basic editing keys.

The final piece of the process is to deliver the final picture, either on videotape or film.


41

A videotape of the finished film can be created directly on the Avid Xpress system. The final

picture sequence should be redigitized using one of the Avid Xpress online video resolutions to

produce a high quality videotape. The final sound mix from AudioVision can also be brought

into Avid Xpress as an OMF frame-accurate master clip with media.These two elements

together then represent the finished picture which can be output directly to tape from the

Avid Xpress system. The filmmaker now has a completed film on video which can be sent to

film festivals,shopped around to distributors, or just enjoyed.Elements from the picture can

also be made into marketing pieces, edited into trailers, or even output as QuickTime movies

for delivery over the Internet or on CD-ROM.

The final picture can also be assembled on film.By using the Matchback Option on the Avid

Xpress system,a cutlist can be generated for the negative cutter who will conform the film

using the list as a reference to the original elements and the video as a picture guide track

replacing the traditional workprint conform method.Likewise, the audio mix can be output to

DAT from AudioVision and delivered to the lab from which the optical soundtrack can be

struck.By preserving the audio in a digital format through the entire post production process,

the highest quality sound will be preserved.Together the optical track and conformed negative

will be the final elements needed to create the answer and final release prints that will be

screened in the movie theaters.

As demonstrated through this suggested process, all of the elements that are required to post

Finishing the Fi l m

42

a feature film can be done with Avid Xpress, AudioVision,and/or Pro Tools systems. These tools

can be used separately or together as an integrated process to provide independent filmmakers

a cost-efficient method for bringing their creative vision to the screen.

S u m ma ry

43

For additional reading on the subject of film post production:

Books:

Digital Filmmaking,The Changing Art and Craft of Making Motion Pictures.

Thomas A. Ohanian, Michael E.Phillips

Published by Focal Press

ISBN: 0-240-80219-5

Digital Nonlinear Editing: New Approaches to Editing Film and Video

Thomas A. Ohanian


ISBN:024080175X

First Cut: Conversations With Film Editors

Gabriella Oldham

Published by University of California Press

ISBN: 0520075862

In the Blink of an Eye :A Perspective on Film Editing

Walter Murch

Published by Silman-James Press

ISBN: 1879505231

Re ferences

44

Re ferences

The Film Editing Room Handbook

Norman Hollyn

Published by Lone Eagle Publishing Company

ISBN:0943728339

Your Film and the Lab

L.Bernard Happe


ISBN:024051212X

Websites:

www.aaton.com

www.avid.com

www.evertz.com

www.filmmag.com

www.he.net/~trijet/

www.hollywoodnetwork.com/

www.ifp.org

www.indiewire.com

www.moviemaker.com

www.sundance.org

©1998 Avid Technology, Inc. All Rights Reserved. Avid, Media Composer, Film Composer, OMF, AudioVision and Open Media Framework are registered

trademarks and Avid Xpress and tools for storytellers are trademarks of Avid Technology, Inc. Digidesign and Pro Tools are registered trademarks of

Digidesign a division of Avid Technology. All other trademarks contained herein are the property of their respective owners. ABPXF198 45

Digital Filmmaking:The Changing Art and Craft of Making Motion Picturesby Michael E. Phillips,Thomas A. Ohanian

• Features interviews with leading filmmakers including James Cameron and George Lucas

• The most comprehensive book on the subject of digital filmmaking

Digital Filmmaking is the professional “bible” of the new era in filmmaking.This book details

the procedural,creative, and technical aspects of pre-production, production, and post-

production within a digital filmmaking environment. Readers will understand not only what

new digital methods and techniques are re-defining the filmmaking process, but also how the

evolution into digital filmmaking can be used to achieve greater creative flexibility as well as

cost and time savings.

Digital Filmmaking thoroughly explains vital concepts, including digitization, compression,

digital compositing,nonlinear editing,and on-set digital production and related traditional

film production and editing processes to those of digital techniques.

Focal Press

46

Contact Focal Press to Place Orders

47

Four ways to contact Focal Press to place orders:

1. Telephone: Call toll-free:800-366-2665,Mon-Friday, 8:00AM-6:00PM Eastern Time

2.Address: Focal Press, Fulfillment Center, 225 Wildwood Ave.,Woburn,MA 01801

3. E-mail: [email protected]

4. Fax: Fax toll-free:800-446-6520

In Singapore, Indonesia, Phillippines,Thailand: Reed Academic Publishing Asia,

37 Jalan Pemimpin,Union Industrial Building,Block B 07-05,Singapore 2057

Telephone: 65 356 1968 Fax:65 356 1925

In Europe & Rest of the World: Butterworth-Heinemann, Reed Book Service, P.O. Box 5,

Rushden,Northants NN10 6PU U.K.

Telephone: 44-1933-58521

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U.S. Customers: $49.95 Please add $4.00 handling fee for the first item ordered,$1.50 for

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