Glossary of Post Production Audio Key Terms
ADR/Looping
Automated Dialogue Replacement. The Actor re-performs a line of dialogue (in studio or
on set) in sync with picture to replace a problem line or add a line, often times looping it
over and over to gain the best performance.
AAF Export/Import
Advanced Authoring Format was created to allow easy and metadata rich interchange
between video and audio workstations. The general workflow involves the video editor
creates an AAF audio export of his or her sequence and the audio editor uses this as his
or her starting point. AAF is the newer/more full featured of the previous OMF import/
export.
Beeps
Short audio tones before the record area to cue an actor or foley artist while doing ADR or
Foley. (Can be created and used in Pro Tools)
Chain
A term used to define an Aux fader that is fed by a bus from multiple source tracks. It
offers more control, dynamics, EQ and more to then feed the record stem.
Change List
Conform
CUE Sheet/Virtual Cue Sheet
DNxHD Quicktime
Dual Operator
Dolby Surround Sound
A change list tracks editorial changes between two different versions of a final picture
edit. Usually generated from Avid’s FilmScribe based on Avid’s award-winning film
list generator feature - a standard component included in every Media Composer and
Symphony system.
This is the process of making all sound elements follow any picture changes from video
editorial. This can be done manually or with aided with specialized ‘Auto-Conform’
software such as Titan Sychro Arts, Conformalizer from Maggot Systems or Virtual
Katy from Virtual Katy.
Cue sheets are used in audio post in various ways - logging ADR takes for instance.
In dubbing, traditionally large printed cue sheets gave the mixer a chance to see what
sounds were coming at what Timecode. In the modern workflow, the Pro Tools edit screen
acts as a moving visual cue sheet or ‘virtual’ cue sheet.
A video codec (and filetype) generated from Media Composer that maintains a very
high quality HD picture that will play back in Pro Tools without taking a large amount of
bandwidth.
Refers to two consoles or control surfaces linked together on a dub stage. One for
Dialogue/Music and the other for BG’s, FX and Foley. Requires to Re-Recording Mixers.
Taking film soundtracks beyond stereo, Dolby Labs offers several encoded audio
surround formats for the final mix of a film or TV soundtrack that can be decoded by
the consumer into their viewing/listening. Can be 4, 5.1, 7.1 channels and now beyond
with Dolby ATMOS. There are several plug-ins to help you encode your mix in a Dolby
Surround format for delivery.
To record sound for picture. Also, two more specific meanings depending on country
and context:
1. Hollywood traditional meaning: to ‘mix sound to picture’. The mixing room is referred to
as a ‘dub stage’ where they are ‘dubbing’. Also known as ‘Re-Recording’
Dub (or Dubbing)
Field Recorder
1. Foreign meaning: to replace original English dialogue with another language. To ‘dub’ it
in French, Italian, German... EDL - An edit decision list or EDL used in the post-production
process of film editing and video editing. The list contains an ordered list of reel and
timecode data representing where each video clip can be obtained in order to conform
the final cut. In recent years, linear video editing systems have been superseded by non
linear editing (NLE) systems which can output EDLs electronically to allow auto-conform
on an online editing system
a digital machine for recording on set audio. Usually records multi-channel and in sync
with Timecode. Microphones used usually include a ‘boom’ shotgun overhead mic and
several body microphones - called lavalieres. An example recorder is the Zaxcom Deva
Foley
A foley artist performs footsteps, prop handling, cloth movement and more (in sync with
picture) in a very quiet studio to enhance the production sound . The Foley mixer records
the session.
FUTZ
To enhance or modify a sound or sounds to appear as if they are coming from a telephone,
car radio, intercom, loudspeaker or other desired sound source. Usually accomplished
with plug-ins and other combined effects. Key Plug-Ins: EQ, Convolution Re-verbs,
Distortion Plug-Ins, McDSP Futzbox, Audioease Speakerphone 2.
Ghost Clip/Cue
Group/Walla
An empty clip or region in Pro Tools to indicate where a line of ADR (or other cue) should
and will go. The prep work helps aid in workflow and speed. Usually done with ‘Clip
Groups’ in Pro Tools - see “Spotting Session”
A group of actors who perform background talking (or non-sensical voices) in the
appropriate language and tonality.
Layback
When a mix for the video project is final - if the deliverables include a physical videotape,
then with synchronization and usually 9-Pin machine control, a ‘real-time’ layback to the
video tape of the digital audio (only) is performed. Most often it is a 5.1 multi-channel mix
and a stereo, but may also include stems of the major subgroups dialog, music, fx, etc.
LFE
Low Frequency Effects channel. Refers to anything feeding the ‘sub’ channel or point one
channel in a stem or the final mix.
Best if frequency limited with a low pass filter: usually below 100 Hz.
M&E
“Music and Effects” only mix. Usually a key stem set deliverable for a movie to be dubbed
in a foreign language. Foley is a key element to making this successful M&E.
OMF Import/Export
Open Media Framework was created to allow interchange between video and audio
workstations. The general workflow involves the video editor creates an OMF audio export
of his or her sequence and the audio editor uses this as his or her starting point. AAF is
the newer/more full featured of the previous OMF import/export.
PFX
Production Sound Effects - recorded on set in the dialogue track - usually separated later
in dialogue editing to have more control and be useful in the foreign language dub.
PEC/Direct control
A small control panel that floats on or is integrated into the dubbing console. It allows the
mixer to solo, mute stems The traditional ‘printing’ workflow requires the ability to quickly
switch between the printed stem and the live input to that stem and then ‘punch-in’ once
matched. Example product: Colin Broad PD-1.
Pre-Dub
To focus only on a subset group (like Dialogue or FX) and pre-mix it to the best of your
ability. Can be done on a smaller mix/dub stage. Can be ‘printed’ to smaller stems or kept
‘virtual’.
Printmaster
The final mix stems for distribution and delivery. Can be 5.1, Stereo, etc..
Production Sound
refers to sound recorded on set in sync with the film/video. Usually recorded with a multichannel ‘field recorder’. Microphones usually include a ‘boom’ shotgun overhead mic and
several body microphones - called lavalieres. Recorded by a person called a “production
sound mixer’
Pull Up/Pull Down
Terms that refer to an older workflow regarding going from film (24) to SD television
(29.97) timecode rates and audio playback speeds. Not used as much in modern times.
Click here for more info.
Re-Recording Mixer
A person who is final mixing the soundtrack for the movie. Also known as a ‘dubbing
mixer’. It comes from the term that many sounds are ‘re-recorded’ down to fewer stems
with level, panning, EQ, dynamics and other mixing changes applied.
Room Tone
Satellite Link
Sound Design
Spotting Session
The ambient low level noise recorded on set for a given scene. Used to fill edits in
dialogue or replaced ADR lines.
An affordable and easy to setup way to synchronize and solo link multiple Pro Tools HD
family machines over an Ethernet network. Particularly useful in dubbing situations for a
source PT machine (Dial/Music/FX) and a PT stem recorder.
Creating new sounds that may not be simple/literal typical effects found in a sound library.
Created by recording, manipulating, affecting multiple audio files, plug-in processes and
(possibly) musical sound elements.
A meeting with Director/Picture Editor/etc and the Sound Supervisor and or Composer
to define where key sound or music cues will go. Can be done in a cue sheet or in the
actual Pro Tools session. See “Ghost Clip
Stems are typically contiguous audio files which can be any format (mono, stereo, LCR,
5.1, etc.). They are the result of sub mixing multiple source audio channels and recording
that submix independently of other sub mixes in a session. They are separated for later
deliverables and control. Typical Stems for final delivery include: Dialogue, SFX and
Music.
Stems
Advanced Stems include:
- Production Dialogue, ADR, PFX, Group/Walla
- Music (Score), Music (Source)
- FX or Sound Effects, Foley, BG’s or Backgrounds
Playback of all stems, each at Unity gain, should deliver a full balanced mix but allows for
further mix refinement by adjusting the levels of one or more stems.
Stereo Lt/Rt mix
Streamer
Usually a key deliverable mix element. A stereo mix that is matrix encoded for Dolby Pro
Logic that will decode to four channels: Left, Center, Right and Surround. Key Plug-ins:
Neyrinck SoundCode LtRt, Minnetonka Surcode.
A visual line that scrolls across the picture to cue an actor or foley artist while doing ADR
or Foley. Also used in Music Scoring to cue conductor. (Requires 3rd Party Applications/
Boxes like Figure 53)
To edit in previously scored film music for the express purpose of:
Temp Music
1. To help the video editing process for pacing and timing.
2. Guiding the composer for ideas of tonality, tempo, dynamics, etc
3. To privately screen your movie before the composer is hired or completed the work.
Two Pop (beep)
Used in television production and filmmaking post-production, a 2-pop is a 1 kHz tone
that is one frame long and placed 2 seconds before the start of program. It is a simple and
effective method of ensuring synchronization between sound and picture in a video or film.
VCA Master
A group control fader that can relatively control (level, solo, mute) a group of faders. VCA’s
can be nested into smaller and smaller groups.
Video Satellite
Video Satellite is a software option that enables Pro Tools|HD editors or mixers to quickly
and easily play Avid HD or SD video sequences from a dedicated Mac-or Windowsbased computer, running Avid Media Composer software, in sync with their Pro Tools
session.
Virtual or Print
The choice to be made in modern versus traditional dubbing workflow. To keep the mix
‘virtual’, you mix and automate within Pro Tools without recording stems until near the
very end. The traditional workflow is to ‘print’ stems as you mix and punch in to make any
changes. Mixers who print rely on PEC/Direct boxes and Destructive Punch mode in
Pro Tools.
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