Getting the
Most Out of
the Virtual Studio
by Bruce C. Nazarian, M.P.S.E.
I have long had a digital dream. I envisioned a world in which we sound artists can create in a digital environment, and then take our work to a digital dubbing stage where we have the freedom to playback on a digital editing system that feeds a digital console. We view a full-bandwidth 16:9 digital picture that is indistinguishable in quality from a Cinemascope film print. (I think this last element is still missing, but it's getting closer). In this dream we spend our time using the technology to help us create; we're not fighting it when we try to transport our files back and forth. To crib from a recent sound bite, "Can't all this digital data just get along?"
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Most of the digital audio dubbers and editing systems now have provisions for importing and playing standard OMF compo- sitions as well as native Pro Tools sessions. In coming months we can expect this digital convergence to accelerate as more "virtual mixing" stages come on line and older stages add digital playback. To newcomers to the digital realm, let me state that "the bleeding edge of technology is behind us and it's safe to play." I urge you to get to know about OMF, asking your sound supervisor about file compatibility before you start doing dailies.
For our picture editing teammates,
here are a few hints from the well-worn digital sound
trenches:
- Accuracy, accuracy, accuracy! If
your lists and logs aren't right, tracking the source
elements will quickly become a nightmare. A great digital
assistant editor is worth his or her weight in gold.
- OMF and direct data export is
cool! If you haven't yet digitized your dailies into an
Avid from DAT and then exported your final cut to the
sound house via OMF, you're truly missing a very
important development. Not only do OMF file transfers
eliminate missing audio, they can also provide
first-generation digital sound throughout the editing
chain. Believe me, you will notice the difference.
- If you're not delivering an OMF
export, please give us clean well-commented EDLs. We want
to give you back all of the sound you have worked hard to
include, so help us find it for you. Info like scene,
take and sound-roll numbers help a lot. If you have wild
tracks you love, tell us. We'll use 'em.
- Email works great for lots of
things - specs, ADR spotting notes and, especially, EDLs.
Get on-line and rock! You can even send sound files via
the Internet.
- Not all of us work on the same
computer platforms, so it's important to differentiate
between a Mac and a PC. Make sure you use an
appropriately formatted disk.
- Please pay attention to the
videotape output specs requested by your sound house,
especially audio track separation. We need certain
technical requirements in order to work efficiently, so
please help us out.
- Digital usually means faster, but
not in all things. We would love to schedule ADR the day
after you lock the picture, but in most cases it's
unrealistic. Please understand that the quality you seek
still takes time to create.
Remember, a little consideration goes a long way towards making digital systems work for all of us. Thanks.
A supervising sound editor,
Bruce Nazarian is the owner
of Magnolia Studios in Burbank.
Reprinted from
The Motion Picture Editors Guild Newsletter
Vol. 19, No. 6 - Nov/Dec 1998
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