Workflow
discussions about workflow from production through post-production
736 topics in this forum
-
- 6 replies
- 2.2k views
Hi All Just wanted to check my proposed setup for a TVC that's coming up. I'm in PAL-land so the F35 Camera is running 25p. As we are shooting inside a car on a low loader I was planning on transmitting timecode from the camera to the SD 744T set to auto record when the camera buttons on. As a backup I will also be sending to the camera tracks (tho I have just heard from the DOP that on the last job the audio on the camera "was consistently 2 frames out" - not sure what that's all about?) If the camera goes off-frame rate I was going to stay at 25fps. Correct? Any thoughts would be greatly appreciated. Chris B
Last reply by chris_bollard, -
- 19 replies
- 2.6k views
Automatically Sync Dailies in Final Cut with Sync N Link Matt Armstrong March 3, 2009 Source: Studio Daily At the latest Alpha Dogs Editors' Lounge, post production guru Philip Hodgetts from The Assistant Editor and Intelligent Assistance demonstrated his new application for Final Cut Pro, Sync N Link, for synchronizing sound and picture shot dual-system. Sync N Link does what Avid's Auto-Sync function does, plus more. Footage and sound files with the same timecode can be automatically synched with a few clicks, either before or after the edit. http://www.studiodaily.com/main/training/richmedia/10569.html I have no personal experience with this
-
- 23 replies
- 3.1k views
I know we had a huge backup recorder thread a while back, but I just had a situation last night where my normal routine messed me up, and saved me. My norm is to run a 1 track DVD from the Deva for Telecine. I run a 1 track backup on my SD 702T. I then burn a multitrack for audio post, usually letting in run during lunch and then finish up the next morning. Last night at wrap, in the scramble to get to the truck as the pouring rain was starting, I managed to accidentally put the unfinished multitrack DVD in the Telecine box, which means that my completed 1 tack disc didn't go to telecine. The good news is, telecine went to the BU and all is fine. So again, I run…
.thumb.jpg.b62d3b0667e4ee0fd0c7f8e5d8c15591.jpg)
Last reply by RPSharman, -
- 2 replies
- 931 views
Hey All, I am working on a music video on Thursday, but the production team is from the UK. We are using 25 fps PAL TC. Do I need any sort of pull up with this on set, or is it true that there is no pull-up or down with the PAL format? They'll be providing the DAT with the TC, I just want to make sure I set everything up properly on the PD-4. A basic question, I know, but I've never dealt with this before. Thanks, Matt
Last reply by Eric Toline, -
- 1 follower
- 17 replies
- 2.7k views
Hello, I just got a call from post saying they can't read my Deva 5.8 DVD-RAM mirror discs. I formatted FAT 32. I had previously sent this same house the same thing, and they had no problems. Now, they insist that their DV-40 is having problems reading the discs. They say it has something to do with the version? They say everything they are getting is on DVD-R discs these days. Have any of you run into this? Why can't they just use an external computer drive to read them? What gives? It is my understanding that DVD-RAM is still the de facto standard for production work as a deliverable media. Is DVD-R starting to take over? Any help is appreciated. -M…
Last reply by John Blankenship, -
- 3 replies
- 1.4k views
When the HVX is shooting at 24P "Native" is it really shooting at 24fps or is it really at 23.976? When you import footage into Final Cut Pro from the 24P Native files, it imports into a 23.976 timeline. Is Final Cut doing a pulldown or is the footage really at 23.976 to begin with? I['m a bit confused cause the HVX's manual mentions it shoots at exactly 24 frames a second.
Last reply by John Blankenship, -
- 3 replies
- 2.6k views
My Sennheiser G2's were my first wireless and are still reliable under the right circumstances. However, unless I'm missing something, they are capable only of scanning their pre-set banks of frequencies and not all of the frequencies in the unit's block. Without either full-spectrum scanning nor the nice graphical interface of the kind Lectros have, finding a clean place is a hit-or-miss affair. Anyone have any tricks to finding good slots on the G2's? A.
Last reply by studiomprd, -
- 10 replies
- 1.8k views
I'm finding that my Block 22 Lectro TX camera hops are "killing" my Block 21 Lectro receiver, both of which are in my Petrol bag. I'm wondering if they are too close in block and/or physical proximity. I set both TX on the camera hops to frequencies on the chart. A.
Last reply by studiomprd, -
- 21 replies
- 3.5k views
So it's a 35mm job, but differently posted: The lab (Fotokem) will be 1- pass tranferring the film to SR HD Cam tapes (23.976), which are then being thrown onto an Avid 48k/23.976 timeline, and THEN the sound will be imported into this timeline and synced. After some investigation, we're leaning toward recording the sound at 30 ND fps at 48.048, this way both the sound and picture will be similalry slowed down, and sync perfectly. Right? Thanks! Dan Izen
Last reply by chrisnewton, -
- 12 replies
- 4.1k views
To All, I've noticed a lot of posts with issues regarding the RED's audio workflows. The solutions to most of these problems are much simpler than one might think. I'm happy to answer any questions about frame rates, timecode, jamsync, bit depth, or any other questions/concerns. Coffey Sound has taken an avid interest in the RED's audio compatibilities. We will be checking this message board daily to answer your questions. Or you can reach me at Coffey Sound. Thanks, Jonny Coffey Sound, Llc (323) 876-7525
Last reply by RPSharman, -
- 2 replies
- 1.3k views
i wud be using a sd302 mixer with sony laples and a 416 and schoeps stereo mic for a small documentary shoot..would like to know is it advisable if i use Fostex Pd4 as master recorder and give analog outputs from it to red camera(cam sound is final in my case)..as Red records on 48/24 bit and Pd4 has 48/16 capapbility ......any and all suggestions regarding workflow will be helpfull.thanxalott Many options for Hdd recorders are not available here ..so the possible options for me here in India in terms of recorders are Deva,Pd6,Pd4 .....
Last reply by mikewest, -
- 1 reply
- 1.3k views
Hello to all! I'm from Portugal and in April i'm going to travel to Los Angeles. I have some work experience in location sound and it would be a great opportunity for me to do an internship in production sound dept. Anyone can help me or tell me what can I do? To whom to talk? Thank you. best, antonio marcelino
Last reply by Filipe Chagas, -
- 0 replies
- 1.3k views
Hey all, I've just posted about using my 788 in this rather unusual way. I would love your help with a few of the challenges of "mis-using" the gear as I am. Here's the post in question: http://www.jwsound.net/SMF/index.php?topic=3416.0
Last reply by Aaron Murphy, -
- 8 replies
- 3.2k views
Hi all, Is there a simple way to decode MS, just for monitoring, in Avid and FCP? I'd like to give editors simple instructions to monitor LR from MS so director can evaluate sound from the start instead of listening to the M track only until audio post. When I explain how to do it externally (mixer, etc) they just get scared (most) or yawn (many) so I'd like to give step by step instructions about how to do it within the image editing software. Not shure if it's easy to set monitoring pan and phase (using an EQ plug-in flat and inverting the phase, for example) + they also need to duplicate the S track, etc. Please help. Thank you, Fernando
Last reply by Fernando, -
- 5 replies
- 2k views
I am looking into taking on post audio for an indie short I actually boomed on. Picture lock won't be for another two weeks, but I took it upon myself to go meet with the picture editor to get a sense of her workflow. Mainly, I wanted to see what kinds of trouble might be up the road (regions not named accordingly, for example). Her timeline looked good. I hadn't ever seen audio and video clips merged before though, which gives them a new name for one thing. Every single clip had the word "Merged" in its name, like "10-6 Merged" for scene 10, take 6. Usually I see audio and video clips linked. She also unwittingly created a 16 bit sequence, not even noticing that o…
Last reply by John E. Walker, -
- 2 replies
- 1.3k views
It's been awhile since I've done a playback gig, so I want to make sure I have my ducks all lined up. When I did them before, I actually recorded the DAT(29.97/48) into a Deva and performed the pull up myself, by playing back at (30/48+). I don't have a DAT anymore, and would like to get a file from post. If I ask post to get me an already pulled up(30ND/48.048) file of the music, and I playback through the 744t with settings of 48.048k and 30ND, I should be alright? If I get an non pulled-up(29.97/48) version, and load it into the 744t and still playback at 30/48+, would that achieve the proper pull-up, like the Deva did? I would like to import it onto the 744t, with a …
Last reply by Michael P Clark, -
- 11 replies
- 3k views
Perhaps be cautious about CF cards returned by Post Production...... I am currently delivering 744T sound rushes to post/edit using compact flash cards. The first days rushes seemed to go OK however during the third day I got a report that the card containing the second days rushes was problematic/unreadable. I had checked it against the hard disk files and that all the correct files were on the CF using the 744T before sending so I was puzzled. The card was then returned to me and I put it in my computer to check it and could read the 744T created folder and all the bwav files absolutely fine and they could be played by Wave Agent fine. So I was more puzzled. There…
Last reply by imagist, -
- 17 replies
- 4.4k views
I sent my production sound (DVD-RAM) to an assistant editor for dailies syncing on FCP and he's not able to read the discs on his Macs. He said he tried it on three different machines. The DVD-RAMS were made from an external FW burner from a 744T. They read fine on my laptop PC. I'm not a Mac owner or user so I could use some help here. Does a Superdrive need new particular software to read DVD-RAM? Thanks for any advice.
Last reply by larry long, -
- 29 replies
- 5.7k views
hey gang. i have an upcoming feature that is spending a little over 2 weeks on the beach. i've actually never been on any shoots on the beach. considering the issue of the ocean roar and the salt air, does anyone have any good advice? any good tips and tricks or things to look out for? should i be worried about the salt air with any gear? shoot is fully insured, so if something goes in the water by accident, i'm covered. i will be laving actors whenever i can (mainly cos-11s), shotgun wise i have either a cs-3e or a neumann kmr 82 in my kit (i doubt my schoeps will make it out of the case). there are 3 male actors and one female actor that i'm guessing (depend…
Last reply by S Harber, -
- 7 replies
- 2k views
Hi All, I'm a great fan of Boom Recorder for the larger track-count Concert and performance recording I do, but a feature of this type of work is the number of concerned individuals, from Conductors to Directors to hangers-on who come up at Interval and ask for audio playbacks of parts of the show that they may be concerned about. I have to do that on a backup recorder, as with Boom Recorder there seems to be no way to start playback anywhere other than the start of a file, and in a long-form recording the bit they want is often 10min into the relevant file. Does anyone else here think it'd be useful to them if Take could add a simple play position slider (or the ab…
Last reply by bcopenhagen, -
- 6 replies
- 1.7k views
Reading the post elsewhere on this forum about the new Macbooks (maybe) not having Firewire, reminds me how hard it is nowadays to find external firewire drives - most shops here (apart from Apple stores) only cary USB 2 drives. They are supposedly as fast as FW400... Has anyone had any experience using USB 2 external drives with Boom Recorder, 48K/24bit at track numbers greater than 8? I've gone up to that with no problem (or been lucky), but do the odd 16 track concert recording and want to know if one can go there with USB 2 drives. Many of the manufacturers of Audio Interfaces seem to be going USB or offering the choice as well - the wider music market is, like …
Last reply by Philip Perkins, -
- 2 replies
- 1.3k views
I have found someone willing to pay me to get a little time behind my HVX200A and, for various reaons (budget, etc.) I am having to go straight into the HVX from my Lectro 411 receiver. Because it's a hidden camera prank-type show, monitoring with earbuds was necessary so I could hardly hear but it sounded distorted. Has anyone done this that can recommend a gain structure? A.
Last reply by Arnold F., -
- 2 replies
- 1.3k views
I had a very busy schedule this time, and sat in on the Mobile Video broadcast session on day one. Lead by head-of-engineering for PBS, most networks and large broadcasting companies were present / represented. Bottom Line - standards have been set for Mobile Broadcasting - regarding broadcast signals to capable mobile devices such as future phones, PDAs, perhaps dedicated digital personal TV receivers. All of the broadcast entities are NOT asleep regarding our growing penchant for the mobile video experience, and have been active in the Open Mobile Video Coalition or http://www.omvc.org/ rather than wait for us to get too addicted to wireless web viewing.... v…
Last reply by mikefilosa, -
- 1 follower
- 35 replies
- 9.6k views
This question goes out to all but specifically to our resident post expert Marc Wielage: when, if ever, do you think CF (or any other solid state storage device) could become a standard deliverable to telecine, replacing the optical disks that have finally become the standard? This topic has been discussed quite a bit here and on r.a.m.p.s., and it seems that the submitting of CF cards is happening in other countries, particularly where syncing resides with picture editorial and telecine is often picture only. Here in the US, the telecine process is the first stage and almost always produces the daily sync material delivered to editorial, so facilities would have to find …
Last reply by Jose Luis Diaz, -
- 31 replies
- 6.7k views
I am using the term "workflow" here in reference to the ways in which we need to have our "work" "flow" during typical shooting day, rather than it's normal reference to how our tracks flow through the production-post chain. Many people are using 2 recorders on a job; in the cases I am most familiar with this would be a Deva and a Sound Devices 744T or 788T. We know that all the common recorders can make a deliverable disk, typically a DVD-RAM disk with Broadcast Wave files on it, and when using these 2 recorders it is not such a big deal to burn a disk using each machine and turn in 2 disks. My question is, when using the SD recorder, for example, to record some po…
Last reply by Jeff Wexler,
