Editing synchronous sound

[Music] [Applause] [Music] that's look right directly at do you have any questions about your experience how far do I go editing a synchronous sound Motion Picture may be best understood when considered in its relation to the shooting phase of a film let us look in on a Sound Stage as shooting is about to begin quiet on the set roll sound roll cameras camera one rolling camera two rolling it's light think sound editing Scene Three take one action in double system synchronous sound motion picture production two systems are in operation at the same time the sound and the picture sound is usually recorded on magnetic film on a sound recorder while at the same time the action is being recorded photographically to ensure synchronization between sound and picture the recorder and the cameras must all be driven by special Motors running at the same speed when a synchronous sound scene is edited a means of reestablishing synchronization is needed this means of reestablishment must be provided during shooting usually by a clap stick a clap stick establishes a sound Cube on the magnetic thus the clap stick is a means of establishing synchronization cues during shooting which will be used to reestablish synchronization during editing after the soundtrack and picture footage are evaluated the film is broken down into separate scenes the notes taken during evaluation indicate the take that will probably be used the point of head synchronization must be located for each of these takes this point of head synchronization on the soundtrack is the sound made by the clap stick the first frame on which impact is heard is the frame to locate this Frame is marked with a pen or lead pencil then checked a punch hole provides a permanent point of synchronization after all head synchronization points are located and punched on the soundtrack the picture footage is broken down with the viewer head synchronization points are located on the picture takes to be used the first frame on which the clapstick makes contact is the point of head synchronization this Frame corresponds to the frame which has been punched on the soundtrack on each picture take this Frame is marked and permanently located the accuracy of these head synchronization points should be checked with those on the corresponding sound takes the moviola may be used for this purpose when the editor is sure of synchronization he loads the two pictures and the soundtrack on the multiple rewinds reels are separated by spacers nonf feris reels should be used for magnetic soundtracks each film must be moved to the editing equipment at the same rate for this reason real hubs must have equal diameters and the lengths of the film must be equalized with lader single or double perforated leader is used depending upon the film type a key piece of editing equipment is the gang synchronized ER the head synchronization points are aligned in the gang synchronizer this reestablishes synchronization between the sound and pictures synchronization will be maintained as long as the film remains in the gang synchronizer in longer scenes internal synchronization point should be marked these marks are made at regular intervals and become substitutes for head synchronization points they will serve to reestablish synchronization if it is lost during editing thus far we have seen how synchronization after being established on the set is reestablished during editing for the remainder of the editing process this synchronization must be maintained the shooting script and notes taken during evaluation indicate roughly where the cuts will be made first a section of the footage from the close-up camera is to be cut into the medium shot to maintain synchronization between picture and sound this cut in must replace an equal amount of footage from The Medium shot the frame for the first cut point is located and marked on the viewer The Cutting marks on each picture are made on the synchronizer these cutting marks are placed on the outtake side next to the frame line where the splice will be made temporary synchronization points are marked so that synchronization can be checked immediately after the splice is made after the splice has been made the temporary synchronization points should still be in alignment the other cutting point is located and marked in the same manner all cuts and splices are made on the feed side of the gang synchronized after each splice synchronization is checked it is sometimes necessary to eliminate unwanted sound from the soundtrack this unwanted portion is located and marked for cutting when this portion of the soundtrack is removed the corresponding f picture cannot be used the soundtrack could be spliced together but if the corresponding picture were simply splic together like this a jump cut would occur at the splice one way to avoid this jump cut is to use a cutaway shot from another camera when all cuts and spices are completed the internal synchronization points throughout the film are checked finally the edited sound and picture are evaluated on the moviola this means of reestablishment must be provided during shooting usually by a clap stick a clap stick establishes a sound CU on the magnetic film and a corresponding visual queue on the picture locating the clapstick cues on both the soundtrack and the picture is the first step in editting when the synchronization points are aligned in a gang synchronizer they provide a permanent reference for maintaining synchronization throughout the editing process therefore three important points to remember when editing synchronous sound are first synchronization cues must be established during shooting second these cues are a means of reestablishing synchronization during editing third this synchronization between picture and soundtrack must be maintained throughout the editing process [Applause]