Workflow
discussions about workflow from production through post-production
736 topics in this forum
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- 15 replies
- 2.6k views
quick question for you all if you could help me out. do you ever have a need for a stereo (vs mono) feed to a boom op? i realize that i am usually just sending a mono signal (the mic that they are holding...) but wonder if in practice, anyone out there sends a split feed to their boom op? just curious for any reason i can't think of. thanks, -greg-
Last reply by mikewest, -
- 13 replies
- 2.1k views
Hello all, Doing a 16mm feature film gig that's having dailies xferred to HD 23.976. Post house requested I run 30NDF @ 48kHz. Using a Panavision "Elaine" running at 24fps. Denecke TS3 I'm using an Edirol R4-Pro set at 24bit 48kHz 30ND and jamming the slate. Post house reporting sync errors (there have been more than a few issues with this transfer house on this shoot outside of this particular one, they largely do commercial work). I strongly suspect a pull up/down issue but having trouble deciding what exactly it is for my case, as my recorder does not offer a 48048 option. I have BWF Widget, but I would appreciate some guidance as to usage in th…
Last reply by jonathan chiles, -
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I'm about to record sound for a project that is using Sony EX3's. I'll be recording the audio external to the camera on a Sound Devices recorder. It has sample rates (amongst others) of 48kHz 48.048kHz & 48F which samples at 47952 and stamps files at 48 kHz What actual one of the above should I be using??? Regards John
Last reply by Philip Perkins, -
- 1 follower
- 17 replies
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Good morning everyone!! For the last year or so I've been working on short films and a few commercials, always using the line outputs from my SD 302 to feed the inputs of my digital recorder. For my next project I've been asked to feed audio to the camera while also recording in my machine. It's the first time I'll work this way and I thought to use the tape out of my 302 to feed the camera through cables. Later I found these are unbalanced outputs and I don't know if that is going to be problem as the inputs to the camera are balanced. I'd like to keep the audio from my recorder as the main source because it allows me to record 24 bits while the camera is 16 …
Last reply by Sam Mallery, -
- 3 replies
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Hi all, I'm wondering if I can run a possible workflow by you all as this isn’t something I normally do on this scale. I’ve got a possible job coming up that involves a re-record of a voice over for a wild life documentary. At the moment it’s all speculative so far but I want to come into the first meeting with some idea of where I want to take this. So far I know they’re looking to re-record the voice over for a wild life documentary into Pashto for educational use within Afghanistan. They have managed to get copies of the documentary on DVD without the English voice over track and just with the music and sfx mix. They have a script and it is currently be…
Last reply by soundtrane, -
- 7 replies
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hey everyone. i've done searches here and on ramps, but have come up empty. has anyone worked with the lumix gh1 yet? i just got a call for a shoot tomorrow - no time to talk with post about the frame rate issues. although the guys shooting it are likely editing it. i am rolling a 744t - will provide a mic level signal on a mini jack (gotta run to radio shack early in the day for a mini to "sub-mini" adapter) - will run a slate. i'm aware that AGC cannot be turned off. i was reading about the cannon 5d and about running 30fps/48.048 to keep sync. i can't find any specific info about the lumix. but i did find this: --------------- Frame Rates & Cod…
Last reply by studiomprd, -
- 4 replies
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Hi Guys! I'm going to do a reality show later in this month. It will start with 14 characters, plus two or three daily guests, and a presentator. The wireless TXs will be Lectros SMDA (18), with Countryman B3 capsules, and the Rxs will be Lectros Venue with VRT modules. I'm thinking about using 3 SD 788T linked for TC, and using external TC generators (Ambient Lock It) to sinc the cameras TC (seven cameras) with the sound TC. The cameras TC will be laid in a audio track, as the cameras (Sony's Z7) have no TC input. Then, to start the editing, everything would be sinc'd in an Avid. What worries me is that this "everything" is 7 image tracks with it's 2 audio tracks …
Last reply by chris_bollard, -
- 1 follower
- 5 replies
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I don't normally do music playback for video clips, but in the current economic climate I am going to have to compromise my dialogue recording principals and get out and do some different kind of work. I think my wife would like to see a little less of me at home as well. It is a little humbling to admit, but I'm a little not quite up to speed on pitch shifting in Pro tools in order to do off speed frame rates. I use Pro tools quite well for dialogue or music playback in drama recording, so that aspect is fine. I have a large and small playback speaker that will handle just about any situation, but other P.A can be hired for earth shattering volume needs (hopefully not…
Last reply by slemaker, -
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I just ran into an odd situation: I mistakenly rolled TC @ 23.97 on one scene of a reality pilot w/ my SD744T, only to find out before the next scene that the Sony EX-3s were rolling @ 29.97. For the rest of the show, we were all is sync - SB-3 boxes feeding the 4 EX3s & cameras shooting my slate as a backup when possible. So, I load my incorrectly stamped 23.976 files into SD Wave Agent, restamp the TC to 29.97, and send the corrected files to post. I hear today from the editor that the restamped files are still coming in @ 24 frames. I download my updated files from his server to make sure I hadn't accidently sent the wrong ones, open them in Wave agent &…
Last reply by Adam Jones, -
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Hello everyone. I have a upcoming shoot (Reality i guess) that will have 4 HVX200 cameras shooting on P2. I don't have Frame Rate info yet. I know that these cameras will not take a EXT. Timecode source and that they will drift with the firewire jam. I know that the edit will be done in Final Cut, but don't know the experience of the Editor(s). That info will be coming soon! I Hope. Rundown: 2 talent on camera (RF's), small group of people watching. 2 Hand held reality cams, 1 Roving Cam, 1 Lockdown cam. Because these cameras cant be jammed I would like to give them a timecode source so they can edit properly. So her are the options I may present. Option 1:…
Last reply by martijn scholte, -
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- 907 views
Hi fellas, can anyone tell me which bands work best in Munich? I've got 2020s and G2s in Ch69(854-862 for the 2020s and 830-865 for the G2s) and a Zaxcom Hop in Band 26. It's a rush job and I'm leaving on Monday, any insight would be great. Cheers, Andy.
Last reply by Andy P, -
- 14 replies
- 2k views
A mate of mine who usually mixes TV (doco, lifestyle/reality) is mixing a DVD and was wandering if there were standards that he should be adhering to. He usually mixes so that there are no peaks above -10 dBFS which is in line with broadcasters. Should he be mixing hotter for DVD? Any input appreciated! Cheers, Jase
Last reply by Marc Wielage, -
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Just had a request for a transcription recording as a Quick Time file with timecode. I'm assuming that a WAV file recorded on something like a SD 702T and then imported into Quick Time would work for this scenario? ie QT would be able to display a running TC readout of the TC recorded I was going to use my usual non TC backup recorder and put the TC on an audio track but this would require an external TC reader for the transcription I imagine. Jon Chiles
Last reply by Marc Wielage, -
- 6 replies
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Hey guys, Just finished doing a shoot with a sony f900 rolling at 23.98. I did not send my code to the camera. They were using Record Run. I sent a hard wired signal to the camera. Rolled my Cantar at 23.98 and jammed at ts-c at 23.98. The editor and post production supervisor sent me this: "Here’s a new one. Apparently the field team for this spot used a double record system for the audio, on an Anton Cantar-X field recorder. This is causing us some trouble and delays trying to get the material into the suite, at the correct frame rate." Then this: Waiting to hear back from the editor, on whether or not they can sort it out. Issues are; 1) Rec…
Last reply by studiomprd, -
- 60 replies
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Hi, So I have job coming up with the canon 5d mark ii camera. Anyone know what frame rate to set my 744? I guess 29.97 ndf? Thanks, Leone
Last reply by studiomprd, -
- 41 replies
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Hi, I'm new here and new to audio. I'm primarily a writer/director, a student at a college, and have taken a couple of audio courses and read a bit on it. So even though I know very little, I know enough about audio (and care a lot about it creatively) to know that it's more expensive than picture and that a lot of attention has to be paid to it. My main problem is $$$, as even though I'm saving up for a low budget sound package, I can't realistically afford multiple 2000 dollar microphones with amazing setups. I wish- but no. So I come here from another forum with an honest question, I'm not ignorantly asking for a miracle, but some opinions on a solution to a problem- …
Last reply by studiomprd, -
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[move]Trew Audio Toronto's Five Year Anniversary - Day 1[/move] Howdy all! Trew Audio Toronto will be hosting a sound for picture workflow session with some distinguished guests including Glenn Sanders Founder and President of Zaxcom – equipment manufacturer and digital recording specialist Charlie Parra Denecke Slates - Time Code specialist Jack Mosor PS Production Services/Toronto - Camera specialist and provider Julian Daboll Technicolor – Post-Production specialist Glen Trew Sound Mixer and President of Trew Audio – Sound for Picture specialist discussing topics such as * Why do we do sound reports? * How dif…
Last reply by Richard Lightstone, CAS, -
- 3 replies
- 1k views
Hy Folks! I've shot a feature film with my Sound Devics 788T, recording poly multitrack wav files with timecode. These files have been sinced in telecine with the image, but just the mixdown channels. Now they're doing the sound editing, in Argentina, and they say that they're going to resinc all the audio files manually! This seem quite absurd to me, because there should be a way of resincronizing the audio files by time code automatically in post, or am I wrong? I've seem this "Sync N Link" software for Final Cut, would there be a similar software for Avid, or Pro Tools? Any ideas wil be most welcome. Best wishes Tony Muricy
Last reply by tonymuricy, -
I'm on a show with two, two-man (camera, audio) camera crews. We shoot with the HDX-900 and mix/record with two 788T's. We use one 788T as the timecode master, jam the 2nd 788T, then jam two SB-T's, one for each camera. The other mixer connects not only the timecode out on the SB-T to camera, but the genlock, and has indicated that this is better. What benefit is there in this? A.
Last reply by Philip Perkins, -
- 19 replies
- 2.4k views
Hey gang, Hoping some of you can offer me advice about an upcoming gig I have. I originally was contacted to record an event (send audio to one camera and make a back-up recording). One person speaking at a small (maybe 100 people) hall. I was planning on micing the talent myself, also probably placing a plant mic on the podium as well as taking a board feed. Turns out that there is no PA system built into the space. So now the producer wonders what to do. The original company that was contracted to provide the sound system for the event wants a lot of money (when I looked at their rental prices, they had a podium mic listed as a $200 rental!). I'm mull…
Last reply by John Blankenship, -
- 3 replies
- 1k views
I just completed 2 low budget features with the PD-6. So far I like this unit but there are quite a few things that baffles me. I had to use the PD-6 as a bag system for most of the second feature due to the location. We were in the middle of nowhere in the woods where a cart is impractical. I was running it with Li-Ion NP1 batteries. Here are a few questions I'm hoping some of you could help me with. - When using the Li-Ions NP1 batteries, the battery level meter is very misleading. It shows full power for a while then drops to about say 85%. Then all of a sudden, the PD-6 would shut off. So I would pretty much change the battery the minute the battery level d…
Last reply by MT Groove, -
- 1 reply
- 1.3k views
I have been asked by post if a track identifier can be added to the files in Boom Recorder so Nuendo can identify the track count. He says the Fostex has U#, which is what he would like. Is this a metadata function, or is it simply naming the file with _U6 suffix to identify it as a six track file. Or is each track within the Fostex file identified with U1 thru U6 somehow?
Last reply by bcopenhagen, -
- 9 replies
- 1.2k views
Please help. I am very ignorant about this. I need to know how to get an account, and how to explain to someone how to find the files. Thanks, Robert
Last reply by Eric Toline, -
- 10 replies
- 1.7k views
Stuart Weller, an Australian sound mixer, posted a detailed account of their workflow on that show. I am reposting it here, in its entirety (there is some stuff which is really not new for us), just to inform on the progress of transitioning off of DVD-RAM and other optical media. from Stuart (posted on the Aussie Group on CinemaSound): "I thought I might tell you all about delivery of rushes on AS as this can vary from show to show. Obviously the process of handing in rushes hasn't changed yet. If anyone out there is uploading to a sever from location maybe they could put something up about that. We shoot a double system, recording sound and picture separate, then …
Last reply by studiomprd, -
- 16 replies
- 2.1k views
On a recent short film, the picture editor claimed intermittent irregularities with the audio files burnt to DVD from my 744T when importing into Final Cut Pro 6. The problem seemed to be that F.C.P was taking the multitrack files and summing them into less tracks, discarding the dialogue track and doubling up on the atmos track, causing what the editor described as a "stereophonic effect". I was using a Compact Flash card to burn the files on my Mac, but as soon as editorial told me about the problem I started to re use the firewire connection from the 744 to the Mac. After using the firewire connection and re burning the problem days, the problem supposedly ceased. Aft…
Last reply by studiomprd,