Additional Material for CRIMSON TIDE

For Class #14

 Instructor: Norman Hollyn T.A.: Beth Moody
 Office: 310-821-2792 Phone: 323-472-1164

 E-Mail: nhollyn [at] cinema.usc.edu

E-Mail: elizabethmoody [at] gmail.com






Tonight, you will be receiving additional picture, sound and music material for your use in the editing of the CRIMSON TIDE scenes that you have been putting together. I have purposely given you more material than you will need to use. Pick and choose the music and sound effects which you feel add to the tone and energy of the scene as well as advancing the story.

Since you only have four sound tracks to work with, you will obviously not be able to build a full soundtrack, but I expect you to select and edit some of the sound and music cues to create a sound mix which properly balances all of them against the dialogue.

The new material is:

PICTURE
1. Interstitial scenes. Since we do not have dailies for all of the scenes in the areas that you are cutting I have provided the additional scenes in the form that they appeared in the film. You will need to cut your material against these already edited scenes.

MUSIC
1. The last four cuts on the CRIMSON TIDE CD (or the tape, depending on how you are digitizing) are music cues form the CRIMSON TIDE soundtrack. Each is relatively long and contains different tempii (that's the plural of tempo, by the way). Obviously, you do not have to use the entire cue, once you have cut it in. In fact, you don't even have to digitize the entire cue if you listen to it first and select what you need. You don't have to start at the cue's beginning or end at its end. Use what you need to and make the transitions that you need, in order to change energy. The four tracks with their timings are: Mutiny (8:56), Alabama (23:48), 1SQ (18:03), and Roll Tide (7:32).

SOUND EFFECTS
The CRIMSON TIDE CD (or tape) that you have been given contains 26 sound effects of varying degrees of usefulness. I'd recommend digitizing all of them and trying them out, to see what works best with you sequence. Remember to place them against picture with the knowledge that you will be accenting the moments as you begin and end each one.
I've given you the lengths of each effect so you can see what you should have to digitize. Also, note that the titles of each of these effects are shorter than many sound effects libraries use. They often get much more detailed -- down to the type of alarm beep and the era it is from.

1
alarm - fast beep 00:11
2
fire alarm bell clangs 00:19
3
beep - multi-tone 00:20
4
hum - rising & steady 00:57
5
hum - machine on 00:10
6
electric hoist 00:36
7
metal lathe 00:37
8
low electronic sound 00:26
9
radio tuning 00:26
10
oscillator sweep 00:44
11
sonar beep - fast 00:46
12
sonar beep - high pitch 00:25
13
sonar beep - slow 01:03
14
sparking - short/musical 00:07
15
sparking 00:13
16
air raid signal - all clear 00:32
17
glass break - small 00:02
18
glass break - large 00:02
19
glass break - wine bottle 00:02
20
glass break - art glass 00:02
21
walla - cafeteria 01:07
22
walla - excited sml group men 00:30
23
murmuring - small group of men 00:40
24
walla - men babbling 00:35
25
walla - small group men talking 00:27
26
coughing man 01:16
  The last four cuts on the CD are the music tracks mentioned above.  

Cut these sound effects and music against the picture on open tracks. I tend to leave Audio 1 for my dialogue, Audio 2 for additional dialogue and effects. Audio 3 for sound effects and the occasional music track. Audio 4 is devoted solely to music whenever possible. These rules are broken whenever I have too much sound to be rigorous about it. When I hand over the sound to my sound editing crew I have my assistants split them properly, moving anything that they don't need or don't want to higher numbered audio tracks that I will not hand over.




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All material, except where noted, ©1999-2008 by Norman Hollyn. Questions? Comments? Suggestions? Send me an e-mail at my office
Last Modified - September 30, 2008