chaPter 19 Postproduction overview and Workflow 405 the audio transfer If you have shot single-system sound on DV, then the audio is captured in sync along with the picture. However, if you shoot DV in a double-system sound setup, then your audio is captured separately and stored as .wav files. Then, each scene must be synced in the NLE timeline, either by lining up the image and audio reference timecode or by lining up the image and audio of the slate closing (see page 431). All nonsync audio sources, music, sound effects, etc., must also be captured from their original format, into the NLE for editing and mixing. As we mentioned earlier, film shooting is always a double-system sound process, so all synchronized audio must be captured separately and synced with the picture before editing. A film shooter has two options for this. You can send your field audio to the lab with your film (and your sound logs) and request that they sync your audio for you, take for take. This service, as with all lab services, costs money and is charged by the hour. If your slating and logging procedures on the set were inconsistent and sloppy, then you can expect it to take them many more hours to figure out exactly where sync is on each take. The final cost can be significantly reduced if your slates are readable, your audible markers are clearly articulated on each take (e.g., "scene 2b, take 3"), and your logs are accurate and readable. Using a timecode slate that is receiving timecode from the audio recorder also makes the job go much faster, because syncing is simply a matter of reading timecode off the image and typing the corresponding number into the audio transfer deck to find the sync point (see page 336). When you ask the lab for this service, what you get