- During a recording session,
you need to be able to keep track
of all of your keep takes.
You'll have lots of versions of every line of dialogue
when you finish your recording session.
In your edit, you don't want to have to go through every take
of a session, and then hope to find the best take again.
That would take far too much time.
You knew the right ones when you heard it.
So, during a session, when you're recording lines,
an actor will usually give you
at least three different versions of each line
during each take.
Give them notes between takes,
and listen again.
When you hear what you want,
let your actor, an assistant,
and/or your sound engineer know.
They'll mark which reading, in which take, you prefer.
The sound engineer, or whoever's handling the recording,
will usually save and deliver just your keep takes.
But, if you want all of 'em,
just tell 'em you want everything.
But, make sure that you have a way, with your markings,
to know which ones were your keep takes.
Some people mark the keep takes on their script.
You can just write a little number next to every take,
and then circle the ones that you like.
You can also use an audio recording form,
like the one that I've supplied for you
in the sample files, if you have access to those
in your membership.
So, to mark the keep takes, I write down the number
of each take, as we record.
And then, when I hear a reading I like,
I circle that number.
Or, I'll have my assistant do it.
If there are multiple readings in a take that I liked,
I'll write the smaller number to the side.
Now, that smaller number,
is which reading, in which take.
So, I might circle take three,
and then write the number two
for the second reading, just to the side.
During a session, you can ask your sound engineer
to play back the most recent takes,
so that you can listen closely,
count the readings, to hear exactly which one
was your favorite.
Any way you track your keep takes can work.
As long as you stay organized,
and your team all knows what you want,
and you work together.