Re: DEVA over-priced, over-rated and ugly to look at

On Mar 15, 2:20 pm, Douglas Tourtelot <dtourte...@xxxxxxxxxxx> wrote:
I think I can say, on my TV show, if I didn't turn a a complete (as I can
possibly make it<g>) mono track, and my dialog mixer had to dig through 8
tracks of isos to build the show, I'd loose my job.

D.

On 3/15/09 11:07 AM, in article
6ae1a429-f19d-4273-a10e-91814bb59...@xxxxxxxxxxxxxxxxxxxxxxxxxxxx, "pugnax"

<wildtraxs...@xxxxxx> wrote:
On 15 Mrz., 17:06, williamsaro...@xxxxxxxxx wrote:
On Mar 15, 10:31 am, pugnax <wildtraxs...@xxxxxx> wrote:

On 15 Mrz., 15:11, Jeff Wexler <j...@xxxxxxxxxxx> wrote:

In article
<bf801cac-0688-4962-b379-97e4eb9e6...@xxxxxxxxxxxxxxxxxxxxxxxxxxxx>,

 williamsaro...@xxxxxxxxx wrote:
Now I have 16.  Have never used
them all yet.
Billy Sarokin

Give it time, give it time...
knowing you, you WILL use them all

-  Jeff Wexler

(off-topic, but I have no idea to reply as a new topic in Google)

If only they would give us in post 4-5 tmes the time we need to edit
through 16 tracks of production sound plus secondary recorders etc. It
´s great to have everythign seperate but in 99.9% of all cases time
budgets to not consider the tremendeous amout of work that a dialog-
editor needs to conform and "machete" through 16 tracks plus of
production audio.

frank.

If the mixer keeps decent notes you never have to wade through 4 or 10
or 16 tracks.  If in a multi camera action scene one camera picks up
'George' yelling at someone and his mic isn't in the mix, the editor
would check the sound reports to see which track George is on to pull
up his line.  Another common usage is if a radio was used in the mix
and the actor covered or hit his mic during a line.  The editors would
check the reports to pull up either the boom track or the mic of the
person being spoken to.
Best,
Billy

IF the mixer keeps decent notes and IF there´s only that one line to
pull then YES 16 tracks won´t be a time-issue. In all other cases it
is and that´s probably 80% of the time.
An editor will listen through all the tracks of there´s waveform on
it. At least I would even with notes. Nates can be wrong and you do
find "pearls" on tracks that the mixer thought were NG.
I personally do not know ANY dialogie-editor that would blindly erase
a track from his timeline just because the notes say so. It´s always a
listen first.

It´s a HUGE difference to edot with 8 track or with 2 tracks even with
the best reports you could possible imagine. A one minute take simply
takes 8 minutes to listen to the tracks before even doing the first
edit.

Editing is not only about "pulling out" what´s usable, it´s about
smoothing out transitions etc. in the best combination of mics in the
context of a scene.

For the interestend what´s it all about I highly recommend:

http://www.amazon.com/Dialogue-Editing-Motion-Pictures-Invisible/dp/0...
/ref=pd_bbs_1?ie=UTF8&s=books&qid=1237140246&sr=8-1

Anyway, I think we can all (at least I hope so) agree on the fact that
editong with 16 tracks takes WAY longer than editing with 4 tracks.

f.

I always provide a mix track. Most of the time that is all that is
needed, On big multi camera scenes it really is a slop track. I can
only mix for one (or at best, 2) cameras. If multiple cameras are
looking at different action, or from different perspectives, they will
need to go to my isos to pull the best mic for that camera.
Billy
.

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