Preparing for Post

AUDIO FOR FILM, PART 3

Answer Print

Now that the workprint has been edited, viewed, finalised and most if not all the final picture decisions have been made, the original film negative is conformed to match the workprint. The result of this process will create an Answer Print.

The negative cutter goes to work, matching, cut by cut, the edits created earlier in the rough cut. Once again, the Edgecode numbers are used as a guide.

The film will undergo considerably more sophisticated methods of picture editing, fading, titling etc. Although some film shops say they can do sound edits as well, most of the time the sound will be completed by a facility specialising in post production audio. Often a Blacktrack Answer print - a copy without sound - will be made especially for audio post.

SMPTE Timecode

If we get a videotape, it will likely have SMPTE timecode burned in on it. If we're really lucky, the burn-in will match the LTC on one of the audio tracks.

POST PRODUCTION AUDIO

Enter Protools. As we begin working on the audio there will be continuous picture updates; the result of evaluating, improving and second guessing from the picture department.

As result we will be constantly auto-conforming to picture. We will rely on the EDL to assist.

We will also be undergoing evaluation as well, creating temp dubs for the Director and Producer, etc. We'll get our feedback via our Supervising Sound Editor.

Once the picture is 'locked', no more picture edits may be made. We create our final edits to picture and head for the mixing theatre.

TELECINE

Before any audio is started, the answer print will undergo Telecine, a form of film scanning.

The telecine process will result in a copy of the Answer Print being made for the post process. This copy will be in the form of a videotape, removable drive, DVD, etc. An electronic EDL will also be made.