Sound Editing Workflows in Post Production

1. Presented by John McKay Founder Virtual Katy Development Limited Sound Editing Workflows in Post Production

2. The Current Situation • Most Sound Editors are not Technicians. • Proliferations of formats and choices.What do I ask for? • How do you make a soundtrack when the goalposts are continually changing?

3. Linear World Picture Editing Mixing Sound Editing Final Master Production Pre-Production www.virtualkaty.com

4. Non Linear World Final Master Production Picture Editing Sound Editing Mixing

5. All Deadlines are the same Chaos

6. A Non Linear Workflow Version 1 Version 2 Final Version Final Master Sound Editing Mixing

7. Virtual Katy™

8. What can you do? • Utilising Standard Lists compare versions to create Change List. • Update Pro-Tools session to reflect new cut. • Update ADR Cues or spotting notes. • Find material from any version. • Does not require a Change Note from Picture Editorial.

9. Picture and Sound Evolved in Unison Cut 4 Cut 5 Cut 1 Cut 2 Cut 3 Sound Post - Start work earlier, and supply Temp Mix soundtracks back to editorial

10. Non-Destructive Compilation TVC 60sec 30sec cutdown 15sec cutdown

11. Workflow with Virtual Katy™ • Start assembling sound sequences long before picture lock-off. • Trace material that was dropped, but subsequently returns to the cut. • A Two-Way Street: Sound can influence the cut rather than simply reinforcing it. • Spend your time creating the soundtrack, rather than keeping it in sync.

12. The Future • EDLs and Cut Lists inadequate documentation. • AAF and MXF offer the prospect of complete data interchange. • Up to manufacturers to make systems that enhance rather than complicated the creative process.

13. Thank you to the Hollywood Post Alliance