Workflow
discussions about workflow from production through post-production
736 topics in this forum
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- 6 replies
- 1.6k views
just posted a new version of BWF Widget Pro. a few fixes and some new features. BWF Widget Pro Version 1.175 added the following features. Will play and edit metadata on SD744T created FLAC files (lossless compressed multi-track files) Will play FLAC files with running time code Added ability to switch off iXML metadata parsing to speed up filling grid on large folders. Added ability to detect and mark files with odd byte counts in the audio data which may be problematic in other applications. Added ability to batch correct odd-length files (mono or odd byte count poly files) so they will load in AVID and Pro-Tools ----Courtney
Last reply by Marc Wielage, -
- 13 replies
- 2.1k views
Hi Everyone! I'm new to this forum, so I'll give you a quick intro of myself, a sad story and ask some questions. I started my professional life as a musician. I did quite well, eventually touring for six years with a major oldies act as musical director. When arthritis curtailed my performing career I went into freelance audio engineering. When I went back to school to improve my knowledge and chops an instructor steered into audio post. About five years ago I revamped my home studio and began building my business. I've done five features, one of which won several festivals, dozens of shorts and the usual audio donkey work to supplement the slow periods. In…
Last reply by engaudio, -
- 6 replies
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On my last project there seems to be an offset between my timecode values and what Post is reading for their timecode. This happened on both my test DVD and location audio production DVD's. I am using a Tascam HD P2 recorder and the timecode for each take (in my sound reports) match the timecode on the smartslate. However, Post is using Final Cut Pro version 5.1.4 and their time code for a take is anywhere from 50 seconds to 1 minute and 10 seconds earlier than my timecode values. Post wasn't using timecode to sync up the footage and haven't had time to look into this. There doesn't seem to be any other issues or problems with the audio. I am wondering if anyone k…
Last reply by Marc Wielage, -
- 3 replies
- 1.2k views
Six seated, stationary interviewees, each with their own lav and channel as well as two or three booms (depending on how they are arranged) also with their own channels. I'll also need to send a two channel mix to between one and three other machines (cameras). What recorder/mixer combination? Thank you! Arnold
Last reply by Marc Wielage, -
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Hi, I'm starting a new european featurefilm, shooting with a arri lite 35mm camera. I know it doesn't have 'onboard' timecode but there is an acc called the 'in camera slate' has anyone used this to automatically sync Audio (DEVA V BWF files) with the picture ? or has anyone experience with this box ? and tips , do's and don'ts ? Best regards Jan Deca Brussels, Belgium
Last reply by jan deca, -
- 10 replies
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DVD Compatibility for Dailies, Up-Date 04-25-07 Please send me an e-mail to let me know you received this ok. The Audio Post house may have their own requirements. We have successfully played back DVDs recorded by: Aaton Cantar. DEVA II DEVA IV - V Fostex PD-6 Fostex DV40 and DV824 DVD-Rs copied from Boom Recorder. CDs copied from FR2 media. DVD-Rs copied from Sound Devices 744T and 702T media. DVD-Rs copied from Nagra V media. DVD-Rs copied from ProTools. DVD-Rs copied from HHB Porta-Drive media. Fostex PD-6: UDF DVD-RAM disk Please avoid using either 4 + 2 or 5 + 1, editorial will often ask for tracks from each file. If you must use, ple…
Last reply by Fernando, -
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So I have a four day commercial shoot. The shoot is on 35mm and all the subjects are on green screen. I've had my 744 for about nine months now and the hometown company takes my files off my flash card straight to their computer. This would be the first time I would be burning a disc to send with the film, off to the land of OZ. I tried to explain this to them and asked how they wanted to deliver it. I told them I would be recording at the standard rates for 24 fps film; 30 fps, 24 bit, 48 k. The only reply back I got was to send them cd-r's. Day one is here and we record our first shots and go to pack up. I get my slate back and notice the second had covere…
Last reply by syncsound, -
- 12 replies
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Take, and others, I just did a music video where I did Hard Disk playback with timecode on track 2. The video is going to be cut on FCP (They shot HD, but I don't know yet what version of FCP they will use). Does FCP read audio TC, or will I have to re-cut the file with the same TC in Boom Recorder? Thanks, Tom
Last reply by curleysound, -
- 9 replies
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Hello, I've been working on this film for 12 days now and it seams like every day I have a new complaint from post, actually its the same complaints over and over and I really getting frustrated. Here is the set up. I'm using the 744T v2.10. At film break I burn a DVD RAM verify the content Vs the logs I hand it over for shipping. Every other day I get a message from post "Logs missing" or scene 7F-3 missing, etc. I of course have a carbon copy of the logs, and have been able to confirm that the "missing files" do infact exist on my 744 as well as on the backup drives. So I burn a Missing takes roll redo a copy of the logs and off we go. But what really blew my…
Last reply by Marc Wielage, -
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I've been working on a project for a couple ofweeks, and our workflw unitl now has been. I record bwf's on set. Editor passes them through sebsky and then imports them into FCP. Now that i just did a firmware update on my 744t, i can no longer record a file with .bwf, and sebsky does not recognise the .wav files. I know the newest version of FCP can read these files with the timecode, but we are using an older version. Anyone know how to get a .wav file (thats really a .bwf) to show its timecode in FCP ? Is there another file conversion program out there ?
Last reply by Simon Paine, -
- 5 replies
- 1.3k views
This is somewhat of a vent, rant, or whatever is hip. Should probably go to the Daily Journal, but it deals with workflow. I have spent the last 2 months convincing a production company how we should handle a 2 HVX200 30 day doco. I of course want to handle it with CH2 TC, and am completely aware of the workload aspect. But with AudioPost handling sync, the workload is much less. It took some convincing, holding their hands, showing them how to work it on their own AVID. I made everything happen and they were convinced that this is the best way to go. Signed and delivered. A month goes by and they finally start working the workflow. We leave in 5 days! I came in, we …
Last reply by RPSharman, -
- 14 replies
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hey Fellas, soooooo as I was about to do this show I that Im on now I send the post production supervisor an email confirming the required settings they wanted me to use and well the title says it all. Fine. In he middle of day two I get a panicked call from the 2nd Ad "Call the post house ASAP, major sync problems" so I did The nice man at the other end of the line told me that I set my slate to 3nd and the tc is off. I double checked and hmmm NO, I DID NOT! xxxxx Email 1: We are having MAJOR problems syncing dailies this will increases the time it takes to sync and our budget goes out the door. We are in Telecine 1 @ Westwind 818 525 2781 Bartek sh…
Last reply by FSBELLA, -
- 8 replies
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Hi, I'm from the department of redundancy department... I just posted this on RAMPS and I know this issue has been beaten to death, but I can't seem to find the right thread that covered this specific set of 'parameters' if you will... so... Correct me if I'm wrong, but even with an M.O.S.Telecine / in-house dailies sync (Avid Adrenaline) for a 24fps film project, I should still record @ 30ND / 48kHz, right? I'm getting conflicting info from different sources and would love for this to be cleared up once and for all. The editor wants 23.976 / 48kHz, but once the film is transfered to video, won't this be wrong? I could see it if we were doing an HD…
Last reply by taylormadeaudio, -
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Hi everyone, So I'm going to be doing my first project shot on actual Film. (everything i've done up to now has been video) So here is my question: We are shooting on 35mm film at 24fps. It's not going to telecine. Picture will be developed and transfered to HD Video at 23.976. The audio will be synced (sunk ?) to the video in the edit suite. So, i was thinking, record all location audio at 23.976 fps, so as to match picture when it reaches the edit suite ? Am i on the right track ?
Last reply by Simon Paine, -
- 0 replies
- 1.1k views
This is a really good article on iXML from "Line-Up", the Journal of the Institute of Broadcast Sound. http://www.gallery.co.uk/ixml/iXML-LineUp.pdf
Last reply by Darren, -
- 4 replies
- 1.2k views
We've got a new wrench thrown in the equation here on my current show. It seems that there has been the desire to move more swiftly and not be so tethered to a DIT station and tent for some upcoming situations. The HD and DIT combo has become the reason why we are not able to do some things that we used to be able to do with a simple (not really) film camera set up. The DP will be bringing in film cameras for certain things, not really having a plan, but will use them whenever he feels necessary. I actually think the problem is created a bit by the reluctant camera, grip, and electric department...but I'm just the sound mixer. Now my problem... I run a straight …
Last reply by curleysound, -
- 3 replies
- 2k views
Forgive how basic this question is - hopefully it means a basic answer! Shooting next month with the HDX900 and recording with the Fostex FR-2. We have several music-video type scenes wherein a guy will need to lip-synch to playback, which will come from a laptop (not sure if it's a mac or pc yet) with Pro-Tools, and amplified over the music system of the club we're shooting in. Does the playback get linked via timecode to the camera in some way? Should I just send one track of audio from playback to one track on the camera? Do I just hook a mic up to camera so it records the music that's being played back on set, as was suggested in an older post about a slightly di…
Last reply by John Blankenship, -
- 22 replies
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I started this in another thread and figured it deserves it's own topic. On a film job I am use to recording in 24/48. But for video jobs in which the cameras are recording 16 bit, mainly the HVX200, I've been running 16/48. I've been told that when they start their session, in Avid, or FCP they create a 16/48 session, because the camera has that in the files. My thought, and maybe I'm wrong, was to keep the audio the same as the session ultimately created (16/48) so that there is no conversion of my audio if they need to use the 744t audio. Down converting from 24b is better than upconverting to 24b, and since it is not the sample rate being converted, I guess there woul…
Last reply by taylormadeaudio, -
- 4 replies
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I've been trying to find a definitive answer to the question of whether or not the latest version of Final Cut Pro 5.1.2 can accept polyrhythmic Broadcast Wave files. I'm aware that there are some workarounds that have been created to address this problem but some of them cost money (not unreasonably) and all of them require an extra step. So what I'm basically asking is, given the latest version of Final Cut Pro, should I record files as .WAV mono / poly or .BWF mono / poly? Thanks for the help. Tim Elder
Last reply by RobertKennedy, -
- 7 replies
- 178.7k views
I've posted the latest version of BWF-Widget Pro Ver. 1.160 and BWF-D-Base Ver. 1.6. They both now can create ALE files to allow import of files and much of the metadata from BWF files into Avid editing systems as well as Final Cut Pro.using Cinema Tools. So you can now create an ALE file to include on each DVD-RAM disk you send in to allow easy import of Timecode, Scene, Take, Track Names and Notes and other metadata from the original Production Tracks into any Edit project. For more info go here: http://www.bwfwidget.com/html/new.php ---Courtney
Last reply by redge, -
- 0 replies
- 969 views
Marty Atias and ATS Communications of Silver Spring, MD, in association with the ITVA's Washington DC chapter & Interface Video, will present ITVA's first "First Thursday" meeting (held on the 2nd Thursday this month, January 11) on Direct To Edit Recorders for video & audio. For Video, we will focus on the work flow involved when using the Firestore Digital Video Recorder for P2 & JVC cameras. Jon Robertson of Symco (Rep for Focus Enhancements, Firestore's manufacturer) and Ken Freed (from JVC) will demonstrate the work flow from shoot to edit. In addition, Ken will introduce and discuss JVC's new GY-HD-110U camera, and Jon will discuss Focus Enhancements'…
Last reply by Marty Atias, -
- 15 replies
- 2.2k views
hey all curious if i could get some opinions from you all about protocol as far as recording backups on commercial shoots. i have only recently been doing commecial shoots. thus far i show up with my 744t and 302, mics, wireless, etc...but so far have not been rolling a backup recorder really... i also have an fr-2. i have been thinking that maybe i should utilizing it. i have not had any problems with the 744t...but, would it be bad to connect the fr-2 from the analog outs of the 744t? i guess i could split the 302 to both recorders, but i sometimes use one or two of the preamps on the 744 in addition to the 302. thoughts or opinions are greatly appre…
Last reply by old school, -
- 4 replies
- 1.3k views
from post: <<<<It is best from our point of view that he record a layout on a Fostex hard disk 8 track recorder (exact model # unknown) having both the isolated tracks and the dailies mixed tracks all on the SAME UNIT. That is, to record a maximum of 8 tracks, and if he needs to go over that, to record the extra two tracks on his Nagra recorder.>>>> this is a scenario of a Fostex 824 as main recorder and a Nagra V as second recorder (for dailies). i think this is wierd and funny at the same time. also they had some stuff about CMX rather than OMF, and from what i read in their email, they were not fixed on either themselves. I thoug…
Last reply by Philip Perkins, -
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- 1.6k views
It might be very interesting to hear from as many posters on this board as possible on how they feel about still using Sound "Rolls".
Last reply by old school, -
- 0 replies
- 858 views
Dear All, The sound editor that I am working with -- blazing a trail using PT 7.2 and FCP while gearing up for PT 7.3... This first week went surprisingly smooth, our sound editor "Brilliant" never worked with PT 7.2 is amazed and thrilled and very happy with the new found control of the iso tracks and automation that PT 7.2 has given him. Our preparation started three weeks in advance... All the Deva V fields import without any glitches. The telecine DVcam tape sound is a mix track guide for our picture editor. The Meta data migrates from the FLX and I believe that other IXML and Btext fields from the picture editor using FCP enter the OMF…
Last reply by Ron Scelza,