The post-production workflow is cumulative.  An editor can’t move forward with the assembly until the dailies have been properly merged.  Thus, you should plan to show your professor three to four drafts of each assignment while there is still time to revise them.  A single missed deadline tends to delay successive assignments, all of them incurring a costly late penalty.  Maybe you’re not explicitly listed as a person of ultimate responsibility below; but the nature of group assessment makes it your business to actively aid those who are.

Dialogue Edit

Objective: To improve performance clarity, enhance creative messaging, balance levels, and conform to technical parameters, a sound editor will organize, edit, and mix, the film’s dialogue stem.
Assessment:  The group grade will be averaged with other project scores.  The successful dialogue editor will demonstrate competence in three areas (performed in this order):

  • Project Organization.  Organize Adobe project for dialogue editing
    • Export single video track windowburn to improve playback speed
    • Use markers to denote individual scenes.
    • Replace unusable takes with alternate takes or ADR.
    • Separate/checkerboard dialogue by character
    • Color code tracks by character
    • Assign each character his/her own sub mix track
    • Route all character sub mix tracks into a single dialogue sub mix stem.  The dialogue editor should not adjust levels of any sub mix stem.
    • Route the dialogue sub mix stem into the master mix track.  The dialogue editor should not adjust levels of the master mix track.
    • Disable irrelevant tracks. Hide disabled tracks in the audio track mixer panel.
  • EQ and Processing.  Essential Audio processing
    • Loudness match all of a character’s clips in a given scene, employing clip gain where necessary.  Repeat for each character.
    • Add micro fades at the beginning and end of each clip. This process may be automated using the default audio transition function which may be set in the preferences timeline menu.
    • Apply dynamics and other processing (paying special attention to noise and reverb removal).
  • Level Mixing.  Remembering to adjust levels to account for microphone perspective and apparent distance from camera (i.e., long shots should generally sound farther away than close-ups), mix/keyframe to boost levels and remove peaking (in this order) from:
    • clip
    • track
    • character sub mix
    • To test the edits’ seamlessness, add a temp track of roomtone to each scene (to be replaced in a successive phase of post-production by Foley, Effects, and Atmospheres).