Workflow
discussions about workflow from production through post-production
736 topics in this forum
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- 9 replies
- 2.3k views
Got a call for a simple cable newsmag gig. The producer's flying in with a Sony HVR-Z7. Working with a great local photog, luckily. I'll be feeding the camera two channels of audio (boom and lav). Hopefully wireless, but since we'll be at an RF-crazy location, might just run cable. I've managed to avoid working with this camera before now. I've downloaded the manual and the Z7 seems kinda similar to the EX1. Am I right about that? Anything in particular that I should look out for with this camera? Meters anywhere near accurate? Headphone feed any good? Any other comments? Thanks a bunch! Jim
Last reply by Derek H, -
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- 6 replies
- 1.8k views
About limiters for the Fusion, do you keep your input limiters engaged at all times? What are your limiter settings for the Disk Mix - attack/release/ratio/threshold (what is your reference level)? Do you use the Fusion mic pres and Mix 12 or do you keep an analog mixer in front of it? I just got my Fusion and I am still playing with the limiter settings... Just curious about what have worked for others on the field. Thanks, Gabi Cunha
Last reply by justanross, -
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after asking many editors and not getting a proper answer: is there in fcp a function like avids "autosync" to connect the daily video and sound quick and easy ? i got the feeling that on all this red-shoots/fcp-edits the timecode fed to the camera wasnt used once. but many of the projects were edited with the scratchtrack sent to the camera, because some of the editors werent humble enough to do some dirty work before getting creative or simply dont know their software... which is a pain to the soundeditor lateron... and i am bored by phonecalls like : " ..now we have to sync it up manually by sticks, you know what that means ? " "..yes, if you want to avoid that, buy…
Last reply by Marc Wielage, -
- 15 replies
- 2.6k views
I'm shooting an Interview heavy Doco and production want mp3's with T/C uploaded for transcript. I'm in lots of different hotels hence the desire for mp3 so it's a quick upload via FTP. T/C will be left channel, audio on right. I'm recording with a 788T and need to convert the Bwavs to MP3 on my mac, does anyone have any solutions? I've searched the web and there's not a lot for mac users and even less concerning Bwavs. Cheers
Last reply by dkgross, -
- 2 replies
- 1.1k views
Doing location recording for a shoot and I have two boom ops. I'm looking more for general coverage than focused miking so I'm thinking I might be better off with a wider cardioid rather than a shotgun mic as a lot of the coverage will be for wala type crowd scenes. I have AKG 391B's but I've never used them in this capacity. Does anyone have experience with these as boom mics? How do they handle dialog? Can they hold up in cold weather? Any insight would be appreciated. thanks.
Last reply by Adam D, -
- 1 follower
- 13 replies
- 1.8k views
Hi Folks I've got a job coming up and I'm still trying to clarify the best way to work. I've done a lots of shorts and a few budget features but not really remote ENG magazine style that this is, and my experience in regards to sync is either using non t/c sync cameras or using lockits and master. (Shooting on Panasonic AJ-HPX2100 ) Is the best bet to jam 744t to camera a couple of times a day with T/C set to free run/TOD? I don't want to use lockits unless really necessary, and don't think we'll slate. I'm also wondering whether I should send a scratch guide via radio or just strap a boom to the camera. I will discuss these things with crew next week but just wa…
Last reply by jaydgolden, -
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- 728 views
I'm putting this here, cause I figure it is a catchy topic name! got an email from "No Budget Film School, Los Angeles"... their crest reads: "No Money, No Permission, No Rules". well there is one rule: cash or CC in advance for their program!! http://nobudgetfilmschool.eventbrite.com/ discount code: SHOW
Last reply by studiomprd, -
- 4 replies
- 1.6k views
I was using a Zoom H4n to record transcription files. The battery indicator went down to 1 bar, then no bars, but it was still actively recording. As soon as the interview was over, I hit the pause button and the screen flashed "low battery", then powered itself down. I was using Energizer lithium batteries. When I changed batteries, it cued up to the next track, sequentially, but I could not find the track I recorded. I put the SD card in my computer, and I found that the track existed, but there was no information there, a blank file so to speak. I just ran a recovery program, but it did not find it. Has anyone else has experienced anything like this before? …
Last reply by Marc Hoppe, -
- 13 replies
- 3.5k views
I may be doing the sound for a short film next month, which will be shot on 16mm. It's a friend of a friend's low budget independent short, and even though the day rate is lower than normal, I still want the sound to come out as good as possible. About a year ago I was researching double system sound for 16mm, but that shoot never ended up happening. As far as I could tell, the workflow was fairly primitive. Basically, I would record the audio at 48kHz 24bit WAV, and make sure to clapper slate at the beginning of every take. Before production I would speak to the post people, and make sure that this works for them. Is there anything else I should take into accoun…
Last reply by Marc Wielage, -
- 1 follower
- 24 replies
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Hey guys, today I landed my first job recording dialogue for a short film. Basically I have to record a conversation which breaks out into a fight scene. It is to be recorded on a boat, in a bathroom for the most part. Can anyone give me any tips/workflow methods as I have little idea of where to start! - What is the best method for the sort of scene? - Will I require lav mics or is a boom the best option? - Will the reverb of the bathroom force me out of using my 416 and into choosing a different mic? - Help! Cheers, Pip.
Last reply by studiomprd, -
- 5 replies
- 1.4k views
I am on a job recording a sit down interviews on a Panasonic HDX-900 running at 24P. The primary audio is two tracks being recorded directly into camera. I want to record backup tracks on my Zaxcom TRX-900AA via the STA adaptor. I am running time code from the Pannasonic HDX-900 into the STA and the Zaxcom receiver is seeing the camera timecode. So I have two questions: 1) What frame rate do I set the TRX-900 at to lock up with the Panasonic running at 24P (I am assuming 29.97)? 2) With the current Zaxcom firmware it doesn't seem like I can get the Zaxcom to start / stop recording when the camera (record run time code) rolls and stops. Am I correct with this o…
Last reply by Chris R, -
- 5 replies
- 901 views
Hi, I'm at the start of a project where I'm using my 744T, recording 4 tracks, and the director wants to burn a disc/create a file just using one of the iso tracks to get it transcribed and translated, maintaining the free run (time of day) timecode. Any thoughts on how to achieve this? I'm sure it's obvious, but I'm having a mental block! Thanks in advance.....
Last reply by Jon Gilbert, -
- 36 replies
- 4.3k views
Hey all, I have been asked to record audio to the 5D Mark II. I have a mixer friend making up a cable for me and I will be testing the rig tomorrow. I have downloaded the manual but I think it's old. Can anyone give me some instructions on gain settings, how to achieve those settings, or just point me to a very current manual that has details about the external audio settings? Thanks for anyone who has the patience to lend a hand. Please no responses about double system, it's what the client wants right now, not what I want. Thanks Brian
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Last reply by RPSharman, -
- 1 follower
- 10 replies
- 2k views
I'm currently spec'ing out equipment/crew I'll need for a reality show I'm co-producing. It'll be an action based competition show (sort of a cross between Amazing Race and the Colony) with 3-4 cameras and anywhere from 5-20 people in any given scene (5 competitors, all others "extras"). Overall very run and gun. Just wanted to hear from anyone working in reality TV how they would mic the talent. With that many in a scene, wondering how many lavs would you use? Is anyone really booming anymore or do you depend on lavs and camera mounted shotguns? Our budget doesn't allow for 20+ wireless lav rentals so was planning on having 10 lavs and relying on camera mounts to fill…
Last reply by jason kanter, -
- 1 follower
- 7 replies
- 1.5k views
Subject line just about says it all. Client wants to experiment with the 5D after a shoot next week. I do not have a TC capable recorder. How difficult is this going to be, should I rent a 702T or the like for the test? Of course if he likes it, I will buy a recorder and this might be a once only dilemma. thanks
Last reply by Jimmy Tuffrey, -
- 4 replies
- 960 views
seems worth noting: "Burlington, MA -- Avid® ( Nasdaq: AVID) has announced that the majority of Emmy® Award winners across 30 categories at the 2010 Creative and Primetime Emmy Awards once again chose to use one or more Avid audio or video solutions to create this year’s top television programming. Avid customers took home statuettes in categories including: Outstanding Picture Editing, Outstanding Sound Mixing, Outstanding Drama and Outstanding Variety, Music or Comedy Series. In total, more than 90 nominees used Avid systems like Media Composer®, Pro Tools® and Sibelius® on productions including: 30 Rock, The Colbert Report, Dancing with the Stars…
Last reply by Marc Wielage, -
- 13 replies
- 2.5k views
Hi. I have a GR-1 clocking two SB-T's; one for camera (Panasonic P2 hpx2700), and one for sd card on a Sound Designs 552 field mixer. Shooter will do a lot of off-speed, and client wants continuous sound while camera turns on and off. I'm testing it this weekend, while the rental house is closed. I have a few questions about how to make the TC sync, and the "brochure" Denecke provides gives me very little specific operating instructions; it seems like it mostly tells me what it can do, rather than "how" to do it. I turn on the Gr-1 (time of day), and plug a mini to mini into the TC Out slot. Then I turn on the SB-T, and plug the other end of the mini into the jam…
Last reply by Marc Wielage, -
- 22 replies
- 3.8k views
Hi, I had a friend ask me what at what levels dialog, music and EFX should be mixed for a cinema release. He's finishing his project and will be playing it in a film festival in Canada from DVD. I suggested that he pop 2-3 commercial movie DVDs into his deck, check out the levels and use that as a reference. Not scientific, but it would probably be in the ball park. Any extra information would be appreciated. REgards, Ty Ford RIP Manfred Klemme
Last reply by dfisk, -
- 2 replies
- 886 views
I 've been getting a lot of sibilance when recording dialog with the MSH-10 mic, which is otherwise a nicely balanced sounding mic. Just wanted to know if it is a matter of technique, microphone characteristics or an inherent shotgun design problem.
Last reply by whatalob, -
- 0 replies
- 665 views
hi all we shoot with this cam 25 PsF i was about to use the settings that also worked for the panny HVX500 button 4 and 5 on and both "red" switches to the right no info on the elusive peter gray site (http://www.petergray.org/lockits.html) on this cam any experience greatly app. cheers martijn
Last reply by martijn scholte, -
- 7 replies
- 1.9k views
Good afternoon, I have a question regarding the ZFR-100 Recorder. My understanding is that it has the ability to record audio with TC. My question is how does the post-production department actually sync back the sounds from the zaxcom using the TC? Does the wave files recorded using the ZFR-100 have TC embedded in it?
Last reply by Angelo Waldron, -
- 2 replies
- 1.4k views
I'm trying to conform a feature where none of the location audio BWF files have Scene/Take information in the metadata. I can use a gui like Sound Devices WaveAgent to manually enter the metadata, but doing so for 1500+ files makes me want to shoot myself in the face. Are there any open source programming modules that will allow me to go in and edit these metadata fields without getting knee deep in hex? I'm fairly fluent in Python, but I'll make do with whatever is out there. Thanks.
Last reply by mathemagician, -
- 7 replies
- 1.3k views
In the event of working with multiple lavs in a non-scripted show, what methods do some of you use? When the talents come close to each other you can hear all these phasing anomalies. Phase reversing rarely does the trick. Riding levels is difficult since it's a non-scripted show and you never know who will speak up. Let's discuss some of the techniques used.
Last reply by MT Groove, -
- 8 replies
- 1.5k views
I'm starting a 3 week shoot at the weekend, using my new 744T and am thinking how to change my workflow. Currently I use 2GB CF cards, 2 or 3 a day, and at the end of the day, transfer them to an external drive via my netbook, renaming the files something like this presentername-location-date-takenumber.wav it's a clumsy, and time consuming system developed on the road that I know can be better, as I have to spend a lot of time at the end of each day renaming files. How do people work with their 744t's? what filenamiing conventions have you adopted?
Last reply by Jon Gilbert, -
- 13 replies
- 1.6k views
Michael Clark's experiences with a Red TC snafu prompted me to revisit and rethink the issue of logging clapper timecode. At the conclusion of a long, drawn-out and ultimately inconclusive investigation (although the fickle finger of blame did turn away from the audio dept. and towards the Red), post ended up syncing everything the old fashioned way: they used the audible clap of the slate. Post reported that this only minimally slowed the process in telecine. In the days of DAT, I used to make an effort to log approximate TC for the sticks. I would write down the TC displayed on the screen when the sticks were banged. Obviously, I made no effort to log frames so my …
Last reply by Jan McL,
