.png.279748a58a2b862b7aa5f3b84126e232.png)
Workflow
discussions about workflow from production through post-production
736 topics in this forum
-
- 31 replies
- 4.9k views
How does everyone handle signal flow to their backup system? Most of us who have mixers at the front end, with direct outs, send the ISOs to your [insert your main recorder here], but does anyone do a FULL backup to a second device (ie, including mix + ISOs)? If so, how do you split the directs? If not, do you just send the mix track to the backup device? It wasn't previously an issue for me with Boom Recorder and a PD-4, as the DAT just got the mix track, or occasionally, split tracks off the 2nd main mix out from my Sonosax. Now, having dropped a 744T in the place of the DAT, I'm pondering what I should send to the 744T. Just sending the mix track sorta defeats …
-
- 4 replies
- 1.5k views
I am looking for a good frequency coordination software program to coordinate multiple wireless frequencies in the multi-bag system reality tv arena. Something that I can plug my chosen freq's into and it will tell me if I'm going to intermod problems. It seems all the shows I work on provide gear from Wexler Video. There seems to be a plague of sending out bag systems with adjacent wireless blocks these days, making coordination a pain the butt. I have gear coming in for a show tomorrow in which will contain BLK 22 camera hops & BLK 21 cast RX's in the bag. This seems very stupid to me to send adjacent blocks. Does anyone have a solution to this problem, or a m…
Last reply by Rob Lewis, -
- 11 replies
- 2.2k views
Hi, I was wondering if anyone has any experience with the workflow from FCP to Protools. I'm going to be working on a show where they have been recording audio directly to the Panasonic 900 cameras and then sending the OMF files to audio Post once the shows have been picture cut. I'm going to be recording to Boom Recorder and sending the mono mix to the cameras. The problem is this: Last year on this show the dialogue editor had to manually load any files he needed from Production Audio. The OMF files sent from Editorial were used as the main audio for the final dialogue mix but any time the dialogue editor needed to go in to the original audio splits to find a track, he …
Last reply by studiomprd, -
- 1 reply
- 1.2k views
I´m trying to set up a wireless hop to a Sony HVR-Z1U using 2 411´s at line level from a X3 wendt. Now, in the camera's audio menu, do i set to MIC or LINE level? When I set it up to line my levels are extremely low. I'm using the MC35 cables. thanks
Last reply by FSBELLA, -
- 9 replies
- 2.8k views
I've just received word that newer Deva recorders will not have UDF formatting capability. Is this a sign that UDF is going away ? Mention was made to certain incompatibilities with certain computers and operating systems, but no specifics. Does anyone have any examples of problems that have occurred after supplying production with a UDF disc? Easy fixes or complete catastrophes ? Fostex is quite "invested" in the UDF formatting, correct ? I believe that the 824 ONLY formats in UDF ... Are there any other post machines besides the 824 and the DV40 that are getting a workout in telecine or post ? Mike Filosa, CAS Atlanta
Last reply by Thomas Popp, -
- 1 reply
- 964 views
Hi all, I'll be heading down to Rio next month and was wondering if any of you has done any work down there. Questions. 1- RF's frequency, what lectro blocks? 2- Do I need a Carnae or a manifest for customs? 3- Any local Rental houses? That's it for now. Cheers and Happy New Year Ferdi
-
- 19 replies
- 2.8k views
.
Last reply by Arnold F., -
- 4 replies
- 1.3k views
FYI - Nice job this week, working with a Sony BabyCam HD whatever-it-was.... not a P2 or similar media drive-capable camera. Tape is primary record, but they wanted to bypass tape and it's cost.... Good group, good mission.... Sound feeds camera, firewire cable feeds sound and picture to on-set latest-greatest G5 FCP tower... very pretty pictures and sound. The goal was / is a master hard-drive with full-res FCP Quicktime files ready for edit ASAP. Much time saved saved in digitizing or loading data - Cost 1 = humanoid on set running the computer system, and Cost 2 = limited firewire cable length from camera to computer .... so this MO wouldn't be app…
Last reply by wbrisett, -
- 4 replies
- 1.5k views
How would I go about recording audio from a scuba diver? Is that typically done in post? Are there audio communications between divers typically that I could tap into with say a small recorder, waterproofed of course? Any special connections I would need to know about?
Last reply by Michael P Clark, -
- 6 replies
- 1.8k views
I have been IM'ing with an ADR/Dialog assistant friend who will likely spend the better part of this week having to identify and re-label the production mixer's files (recorded on a Cantar). The file names are arbitrary (but sequential) and his reports provide no cross-reference between his file names and the scene and take. In order to identify them, she listens to the first file and then extrapolates the subsequent file names from there, although she still must listen every few files to make sure they still correspond as he did not identify false takes. She did, however, describe as "fantastic" the track ID's (lav, boom, mix, etc.). Is file labeling difficult on the…
Last reply by Jeff Wexler, -
- 2 replies
- 1.2k views
I have been working from time to time on a documentary shooting on the HVX-200 to P2, recording to my 702T and syncing with a plain old dumb slate. I rolled with 29.97ND, per production's request, but now the producer, who is apparently now cutting the project on FCP, says his FCP session is 23.976 and wants to know how to "ignore" the timecode on my tracks because there is drift between his picture and my audio. Any idea on how this is done? best, Arnold
Last reply by cmgoodin, -
- 7 replies
- 1.5k views
Hi, I just received an update for final cut pro. In the release notes it talks about iXML: http://www.apple.com/support/releasenotes/en/Final_Cut_Pro_6.0_rn/ <tape> -> reel <scene> -> scene <take> -> take <circled> -> good <note> -> log note the timecode rate will also be read from iXML (you used to set this manually) I have not yet tried this with Boom Recorder. Cheers, Take
-
- 12 replies
- 3.6k views
I just completed my first day with Boom Recorder. I am a little fearful of the massive amount of files being created in the folder on the desktop. 1. Should I have a new folder for each day of shooting? 2. If I get all 5 days of shooting in the same folder and "export to Final Cut Pro" will the first time Director be able to make heads or tails out of all the files and data? 3. The two HD cameras are jammed for timecode using time of day. They seem to be two minutes off of the time code I'm seeing, which appears to be reading the Mac's time and not the camera's timecode. How to I make sure BRP is jammed right along with the camera. CH 1 Boom CH 2 Boundary SFX 1 …
Last reply by bcopenhagen, -
- 3 replies
- 1.1k views
Dear all, I would be shooting a documentary with the HVX 202 on HD 1080i 25p. I was wondering while shooting on this mode is 4 Channel recording possible?? If this is possible how do I activaite it. Read and reread the manual and would like to consult the mixers in this house.... Thank You Jason Yun
Last reply by Jason Yun, -
.thumb.jpg.b62d3b0667e4ee0fd0c7f8e5d8c15591.jpg)
- 12 replies
- 2.2k views
To those who know... Are there any post/telecine problems with .WAV polyphonic files containing only ONE track of audio? I was recording a single track on my 744T to save space, but was still set for .WAV poly. A friend of mine told you that you can't record a single track polyphonic file (although the machine lets you) because it would confuse the post machines. They would expect more than one track, thus the polyphonic terminology. I hadn't heard from anyone regarding any problems, but they don't always tell us. So from that point on I recorded two tracks of the same thing for a .WAV polyphonic file with only one mix channel. Recently, I was filling in for ano…
Last reply by RPSharman, -
- 1 reply
- 1.2k views
Anyone know how to get FCP (or even if it can ?) to read and understand IXML metadata from my soundfiles ? Is it a menu option, or is there a version when FCP started to read the IXML data automaticaly ? I've named my tracks in my 744t, but the editor doesn't seem to be getting that information on his end. Audio files in this workflow are being uploaded directly into the editing suite.
Last reply by bcopenhagen, -
- 27 replies
- 4.6k views
I'm teaching Production Sound at a couple college film programs, and have encountered a discrepancy between myself and a post production (ProTools) Instructor, a new Part Time Instructor who is moonlighting from his full time gig at DigiDesign!! He is telling our students that there is an industry trend to do massive ADR, and not even bother with production dialog. As it is coming back to me (since I'm not taking his class, just hearing from my students) he seems to be overstating a preference for, use of ADR over production tracks that I don't believe to be the case. Certainly we all appreciate that effects heavy shows (visual effects as well as sound effects!) may co…
Last reply by Noiz2, -
same block
by Ferdi- 7 replies
- 1.4k views
Hi There, I'll working for a production that wants to use their gear, That's fine what I'm worried about is that we'll have 9 talents on the same block wirelles block, (they bought a bunch of 211's and they're all the same block), and I've never had that many wirelles on my bag in the SAME BLOCK. Have I said same block enough times. Your thoughts PLease. Regards Fd.
Last reply by Marc Wielage, -
- 4 replies
- 1.3k views
That's what I have staring at me. I also have 8 RxTx and they want them ISO, so I have 2 744t running also. I've never run this setup before, so I am asking for any pitfalls some of you who have run this. These camera's have TC capabilities, as does the deck. I can keep the 744's in sync with just the c-link cable(can anyone tell me if I need to use some special cable that ISN'T a standard telephone cable). That gives me 2 TC outs. 1 to the switcher and 1 to the cameras(or should I jam every 3 hours). Will these cameras stay in sync if I jam, as opposed to linking the cameras via BNC? Do they need the Genlock also between the 3 cameras and deck to stay in sync? We…
Last reply by Michael P Clark, -
- 2 replies
- 2k views
I posted this on RAMPS as well, but some of us are spending more time on Jeff's group lately... Okay... we've gone through this a few times, so I'm sorry. But this time I'm in the world of HD and 23.97. The facts: HD cameras filming at 23.97. I record sound at 48K/ 29.97. We sync everything in Telecine just fine. The Telecine session is a 1:1 transfer, no pull downs or anything. No complaints...everything is fine. The problem: When importing files directly into the AVID, iso tracks and whatever, the AVID native sample rate seems to be 47952 (). This causes my original files to play fast, more samples. They will slowly drift out of sync. …
Last reply by cmgoodin, -
- 10 replies
- 2.4k views
Starting on yet another HVX-200 shoot, HD, 24P to P2 cards, recording sound both to my 702T and to camera and the editor has asked that I record timecode at the frame rate of 23.976. With this camera I have always used 29.97 because I have understood it to use that frame rate even when shooting 24P, but I did see an old post on RAMPS yesterday stating that under these circumstances it records at 23.976. Which is right? Arnold
Last reply by Philip Perkins, -
- 14 replies
- 2.6k views
Yesterday I visited with a sound editor and saw something I would like to mention here. This person was cutting with sound from a DEVA 5 and had metadata and track assigns listed on each track that ProTools 7.2 could view. The files were renamed with a designed convention by the post supervisor with the picture department cutting on Avids. The track assigns were left as I had loaded them in on the DEVA 5. I had noticed the lack of sound logs in front of this person and asked about that. The editor said they were coming, but the picture folks had not sent them over just yet. The media had arrived early, BUT that did not stop them from moving ahead, because all of the tr…
Last reply by Philip Perkins, -
- 0 replies
- 895 views
Hey guys. I am new to this forum so I hope you guys can help me. I am going to kenya for a Doc and here is the setup. 2 HDX 900 Panasonic. 1 HVX 200 P2. Running with Deva 5 24/48. Sending code via Ambiant boxes to Panasonics at 29.97. They are shooting 1080i/24P. No sound will go to the Cams. True double system with NO SLATE! The editor is wondering if there is an easy way to sync my Deva V files (6 track poly) with the DVCAM tapes. Is there a way. My timecode will be the master. Anyone done this with FINAL CUT. Thanks and hope you can help. You can also contact me @BrianHanish@hotmail.com. I am leaving on 22 of July so a quick response is appreciated…
Last reply by Brian, -
- 4 replies
- 1.3k views
Doing a one-day gig with a green screen and, not having done so before, I'm not clear on whether I can boom in frame or not. Is there a reason why they might need to preserve a certain amount of green screen headroom above the actor or does it matter? A.
Last reply by RPSharman, -
- 12 replies
- 2.2k views
Could someone please describe how first rate ADR setups operate? How do I say this without a two-page tirade? The show that I’m on has numerous sound issues. The director’s latest idea will cause most of the lines to be looped. The show is a sitcom on sound stage where director plays laugh track from sampler over the PA-- loudly. (He thinks this helps the actors…) It seems to me that my poor-man’s looping setup will not be able to keep up with the large amount of looping that will soon be required. Our system is primitive. Post makes tapes with the three o duplicate clips of the take that we need to loop. We play the clip back from a tape deck in t…
Last reply by Marc Wielage,
