This series of screen capture demos illustrates dialogue editing techniques described in the book.
Lesson 1: Organization (7:35)
If you start to edit too soon, before you’ve organized your workspace, you will undoubtedly run into trouble later down the line. This video addresses some of the issues you will face as you plan your editing universe. For much more on getting started see Chapters 7 and 10 of the book.
Lesson 2: Basic Transitions (16:52)
Making a scene smooth and believable is the first step in editing, and room tone is your primary tool. However, there’s more than smoothness to finding the truth in a scene. One must consider story and characters in order to build a proper scene. This is discussed in great detail in Chapter 11.
Lesson 3: Using Reverse Room Tone (4:59)
When one clip of a transition contains a sound that changes in pitch or volume, you may not be able to find the matching room tone needed to smooth the cut. Sometimes, you can solve this problem by reversing the room tone. Be careful that the clip you’re reversing contains no transient sounds such as birds, voices, or car horns. Learn more in Chapter 11 of the book.
Lesson 4: Aligning Shots (7:41)
It’s not unusual for a picture editor to give you an edit in which the sound and picture come from different shots, or to include an image that contains the same voice from different sources. As the dialogue editor, you must learn to figure out what the director intends to accomplish, and then how to go about executing it. More in Chapter 11.
Lesson 5: The Telephone Split (11:43)
In movies it’s possible to hear both sides of a telephone conversation—the person we see on screen and the person on the phone. There are all sorts of narrative reasons to do this (or not to), and it's the dialogue editor who must build the scene so that all options are open during the mix. This is discussed in much greater detail in Chapter 12.
Permission to use Ghost Month (2009, written and directed by Danny Draven) demo material granted by Cosmic Creations, Inc.