Post sync�

[Jay Taylor]

Trying to understand the "old school" way of doing things?

 

Think back to before they had digital audio workstations, and NLE's, and all that stuff.

 

Once you shot your film, did your edit, how did you record music/dialogue/sound effects in sync while watching the film?

 

If I have my edit finished, and now I want to create the score, how can I record the score on a tape deck (analog) while watching the film to make sure everything's syncing correctly?

 

Ditto with dialogue and sound effects.

 

Example: Someone shuts a car door. I want to watch that scene, while recording the sound effect, to make sure it's in sync. And THEN I want to be able to go back, and watch the scene from the beginning to make sure it looks and sounds right.

 

How is this done with flatbeds and tape decks?

 

Jay

[ryan_bennett]

You just do it. You record the sound effect then transfer it onto full coat/mag stock and just use two tracks - mag stock being a perf by perf, frame by frame representation of the film, and use sound slug for the silenced parts, then you just put it when the door slams you just keep fidgetting with it till it works. At the head of the pix and sound you put 10 feet of leader, this you really need to see how to do so here: http://screensound.gov.au/glossary.nsf/Pag...rs?OpenDocument or do searches for more info.

[Christopher Kennedy Alpiar]

Trying to understand the "old school" way of doing things?

 

Think back to before they had digital audio workstations, and NLE's, and all that stuff.

 

Once you shot your film, did your edit, how did you record music/dialogue/sound effects in sync while watching the film?

 

If I have my edit finished, and now I want to create the score, how can I record the score on a tape deck (analog) while watching the film to make sure everything's syncing correctly?

 

Ditto with dialogue and sound effects.

 

Example: Someone shuts a car door. I want to watch that scene, while recording the sound effect, to make sure it's in sync. And THEN I want to be able to go back, and watch the scene from the beginning to make sure it looks and sounds right.

 

How is this done with flatbeds and tape decks?

 

Jay

 

I dont know much about technical aspect of flatbeds but here is a historical perspective that at least is interesting :)

 

before multitrack analog recorders, music and foley was done LIVE on the set. So there had to be arragned to do LIVE recording of full orchestra in real time with the scene being filmed. Paramount and all the classic production companies housed IN-house thousands of orchestral musicians, hundreds of composers, hundreds of orchestrators, copyists, foley artists, vocalists, etc etc. Until the big anti-trust law suits came out in the 40s/50s.

 

Later when it was possible to seperate the dialog recording from the music / foley recording, the camera department would burn holes into the film to give cues and tempo to the conductor "punches and streamers".

 

"Alfred Newman is often credited with the creation of the Hollywood string sound, and for adding the Broadway sound to the motion picture. He also responsible for the Newman system, a means of synchronizing the performance and recording of a movie score with the film itself. The system uses a special print of the film that is played for the conductor's reference. This print is specially marked with punches and streamers. Punches are tiny marks in the film (for two of every ten frames) that provide a standard beat to help the conductor keep in synch with the tempo. To synchronize music and action, the conductor then uses streamers. These are horizontal lines which move across the screen at a regular pace. This system was created by Newman while he was the Musical Director at Fox, and is still used today."