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WRS MOTION PICTURE AND VIDEO LABORATORY |
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1000
Napor Boulevard,Pittsburgh Pa 15205 |
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WRS MOTION PICTURE AND VIDEO LABORATORY |
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1000
Napor Boulevard,Pittsburgh Pa 15205 |
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Sound For Film
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Sound Mixing The editing of the sound tracks and the preparation for mixing requires not only creativity, but also understandable directions for the mixing engineer. Sound track rolls are designated according to the type of sound each contains, i.e., narration, sync sound, sound effects, music, or presence. Although it is desirable to have as few tracks as possible, it is not a good idea to combine two types of sound on a single track. Often there will be differences in quality between narration and the sync sound although it is the same person’s voice. This can be due to the difference in locations where the recordings were made or simply a difference in voice quality of the narrator over a space of time. The sound engineer can often compensate for these differences electronically, but it is difficult if they are not on separate tracks. Presence track may need further explanation. It is a very good practice when the original sound is being recorded, in the studio or on various locations, to record a few minutes of room tone. This track is then used to make transitions from location to location without abrupt background sound changes. It is also used to fill in blank spots in the edited tracks. Even if you are going to be present during the mixing session, which is desirable, a detailed cue sheet should be made for the engineer to follow. This cue sheet tells the engineer where the various tracks begin and end and the approximate relative levels. Figure 13 - Mixing Cue Sheet is a sample of a mixing cue sheet. The cue footage is in 16mm. Check with the mix studio if the cue footage should be indicated in 16 or 35. Leader Markings and Identification It is preferable that all workprints for sound mixing be submitted with a Universal leader as described under "Work Print Leaders." This aids the laboratory in preparing the film for printing, and in assuring that the track will be in sync. If your work print does not have a Universal leader, you can simulate it. Place a piece of leader n your synchronizer. Set the counter to zero and mark that frame on the leader "Picture Start". Advance the leader to 3 feet and 24 frames, and mark this frame "2". The first frame of your picture is at 4 feet and 32 frames. On each of your magnetic sound tracks, place a large "X" opposite the "Picture Start" frame in the Universal leader. Mark this frame "Pix Start". Place a beep tone of each roll of magnetic sound track opposite the "2" on your Universal leader. Continue your magnetic sound tracks in editorial sync with the picture work print. You must insure that your final mixed magnetic track has on and only one beep in the head leader, and that the beep is in editorial sync with the "2" in your Universal leader. This beep will be used to line up the photographic sound negative with the original picture negatives. (Refer to the section on "Preparing 16mm Printing Leaders.") The diagram for setting up mixing rolls is shown in Figure 14 - 16mm Motion Picture Sound Mixing Log Instructions for Setting Up Mixing Rolls. Before you prepare for a mix, check with your mixing studio in order to understand their requirements. Head Leaders  Tail Leaders 
Sound Tracks for Printing Photographic Sound Negatives Photographic sound negatives (variable area) are processed to a particular gamma and density to provide minimum cross modulation distortion when printed to a certain positive aim density. The photographic sound negative gamma and density and the print density will be different for each type of release print raw stock used. Photographic sound positives are required for making black and white reversal composite prints. You must be sure, when ordering photographic sound negatives or positives, that you specify the correct type for the intended use, and that in 16mm, you specify the correct emulsion position, or "wind," to match the wind of the picture material it will be printed with. If you have any doubts, check with your lab and tell them what the finals use of the sound will be. They will help you pick the proper combination. Sound Overlaps In 35mm prints, sound overlaps are required at the roll changeover in theatrical projection. (Ref: ANSI PH 22.55). Whenever composite prints are made in multiple reels, where these reels might be splices together for projection, a sound overlap is required of the print at the end of the reel being spliced onto the head of the next reel. This overlap contains the sound information of the advance of the next reel (26 frames in 16mm and 20 frames in 35mm).
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