Chapter 14
Sound Editorial
Ultra Low-Budget Strategies
“I know what I said—but now we're dealing with reality!”
You just finished reading about the structured, more traditional techniques and disciplines for recording, editorial preparation, and delivery of the myriad sound cues necessary to create the theatrical film experience known as the soundtrack—and you think all this book talks about is big-budget features with big teams of craftspeople to get the job done. Well, before we discuss the dialog editing, ADR and looping techniques, the world of Foley, music, and the rerecording process, I think we should pause and discuss the fact that a great deal of the work you will do will not and cannot afford ...
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