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Making music for the movies is a complicated, involved, and challenging process. Music Editing for Film and Television covers the practical skills needed to successfully hone your craft. Through an overview of the music editing process, this book will equip you with detailed techniques to solve musical problems encountered during editing. An abundance of interviews with well-known professionals provide a wide range of perspectives on music editing for film, while special features address an array of projects, from a low-budget documentary, to a Hollywood blockbuster, to indie projects.

INTRODUCTION:Between 11-15 million colonoscopies and 6-7 million upper endoscopies are performed in the United States annually, with over half the cases occurring in an ambulatory setting (1,2). Recent claims-based data has suggested that infectious complications may be increased when upper endoscopy and colonoscopy are performed together compared to when they are performed separately (3). The purpose of this study is to determine endoscopic and anesthesia variables that increase the risk of periprocedural respiratory complications.METHODS:Medical records from 2000 consecutive upper endoscopies and colonoscopies performed at five high volume ambulatory surgery centers were reviewed. Patient characteristics were recorded, along with endoscopic and anesthesia variables. End points chosen to serve as surrogates of aspiration risk were intra-procedure cough, desaturation, placement of a nasal or oral airway, and use of oral suction.RESULTS:In 2000 cases, desaturation occurred in 3.25%, cough in 3.5% cases, need for suction in 2.45%, and need for oral airway / nasal trumpet in 0.4%. Multiple logistic regression analysis demonstrated supine position, double procedure, bowel prep taken as a single dose, NPO time of less than 3 hours, BMI >35 kg/m2 and Propofol dose >300 mg, and supine position to be independent risk factors for adverse respiratory events.CONCLUSION:Supine position during procedures, double procedures, bowel prep taken as a single dose, NPO duration of less than 3 hours, high BMI and high propofol dose are risk factors for adverse respiratory outcomes during endoscopic procedures.Table 1.Multivariate logistic regression model predicting any respiratory event

Making music for the movies is a complicated, involved, and challenging process. Music Editing for Film and Television covers the practical skills needed to successfully hone your craft. Through an overview of the music editing process, this book will equip you with detailed techniques to solve musical problems encountered during editing. An abundance of interviews with well-known professionals provide a wide range of perspectives on music editing for film, while special features address an array of projects, from a low-budget documentary, to a Hollywood blockbuster, to indie projects.

Music: beautiful, used, abused, and then thrown out. This is what the skillful, creative, and tough-skinned music editor loves, hates, and endures with temp editing (also known as temp scoring). The \"temp\" here is short for \"temporary,\" but can also be understood to mean \"template,\" in reference to its role as a guide for the director, editor, and composer; although, as discussed in Chapter 7, composers may have issues with treating the temp as a \"template\" for their writing. Whether or not this is the case, this wonderfully crafted musical score will eventually be tossed aside and replaced by the newly composed music.

The final sound mix also referred to as dubbing of the movie, TV show, or documentary, is the time when the director, producers, sound people, and anyone else who has a vested interest in the outcome of the film, come together to finalize and balance the sound of the movie. While it is becoming more common to change or re-cut picture and audio at the last minute (and sometimes throughout the final mix), the sound departments should enter the dub stage with all of their respective elements of the movie soundtrack prepared correctly. There are long-standing methods of how to prepare tracks, audio, and picture for the dub, and each department has workflows that have been used and built upon since the early days of recording on MAG through to today's digital age. (MAG is film stock that is coated with magnetic oxide, usually covering the complete width of the film, and enabling the analogue recording and playback of audio, and which can be locked, sprocket hole by sprocket hole, to the motion picture images.) In this chapter, I will present the basis of preparing music for the mix, as well as a workflow for re-editing and fixing music tracks. The reader should know that while there are tried-and-tested ways of preparing music, digital formats have become more varied and flexible, depending on the specific needs of a mix and on requests from the re-recording mixers.

Most audio-visual entertainment projects including films, television shows, online sitcoms, or computer games, have many facets to their production and there are many steps needed to ensure their success.

The picture editor, sometimes referred to as the video editor or film editor, is a key player as the postproduction develops on any film or television project. Whether the project is low-budget or high-budget, the editor is often the main guiding factor both creatively and technically. While the editor is often considered a team player with the director, he or she is the one who shapes the film and helps realize the director's vision and dream of their project. The art of storytelling with picture and sound should never be underestimated, and the musical elements of the soundtrack are intended to support, enhance, and shape the storytelling of the picture. This being said, any good picture editor should have an understanding of how music works or doesn't work with picture, as they work collaboratively with the music editor. It is of the utmost importance for the picture editor and music editor to have mutual respect and a valued working relationship throughout the postproduction process.

As postproduction winds down, it is customary for the music editor to compile all of the pertinent data and musical materials from the film, including the music cue sheet (see section 11.5). These are part of the delivery requirements, and the responsibility of the music editor. The Pro Tools final mix session should be acquired by the music editor from the mixer, with all the audio copied intact, unless the film was mixed from music that came exclusively from the music editor's rig, in which case you already have it.

Synchronizing the visual performance of a song with the music is more of a challenge than meets the eye. Whenever an actor or performer is seen playing music or singing on camera, it is the music editor's responsibility to make sure the song is in sync with the picture and the music tracks are prepared correctly for the re-recording mixer. Today's high-quality digital cameras can shoot picture at superior resolutions, and they can also capture \"production sound\" (that is, the sound recorded during shooting) digitally from the set-including for a shot of a band playing or someone singing. However, even on a low-budget film with a single camera capturing all the sound in this way, the camera's sync sound recording may not be usable for the final mix-unless perhaps it is a simple case of an actor humming or one person playing an instrument. On most films and television shows a separate location sound recordist captures the dialogue on set using a digital audio recorder. If there is any on camera music, it will be the music editor's responsibility to replace the production music track, prepare, synchronize, fix, and sometimes replace the music, as needed.

Composing, or \"scoring,\" for film is a unique, challenging, rewarding, and sometimes frustrating task. If you are working as a music editor or serious about working in the field you need to know about the craft of film scoring; in this book I assume you are aware of (or able to familiarize yourself with) how composers work, whether through first-hand experience or study.