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Workflow
discussions about workflow from production through post-production
736 topics in this forum
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- 2 followers
- 30 replies
- 6k views
What's the average percentage for your lavs that you don't get clothes rustle/noise, drop outs or hits, etc on your lavs? I'd say about 40-50% of the time I lav someone it's clean without any really bad rustle. Sometimes I have no issues at all when I get the placement just right with cotton shirts, other times I'd assume it's completely useless. I do narrative work where I have to hid the mics almost 90% if I can't hide it in plain sight.
Last reply by mikewest, -
- 6 replies
- 1.4k views
Hello Community, I hope this is the right place to ask this. I have run into a bit of a problem with one of my recent projects, due a rookie mistake on my part. I recorded the location sound for a 30 minute short film on a Zoom H6. Since this recorder has no built in Time-code functionalities I recorded the time-code from a Tiny Lockit onto one of the channels as LTC, syncing with the camera every few hours. The Tiny Lockit was set to 25 fps. The camera however was recording in 24 fps. Now I am wondering: is there anyway to convert the LTC audio files to 24 fps somehow? Can this be done once the timecode is added to a BWF? Or will post-production ha…
Last reply by Bouke, -
- 32 replies
- 3.9k views
I have a film coming up and production wants to record on film and tape. I intend on using my analog mixer, take the direct outs and record the ISOs into my 788T, and send the mix to the Nagra, and back into the 788T. The idea being that everything is already there, even though the tape mix will have a delay, it'll have the slate, and the actual tape would have TC on it. I guess my question is this: should I record everything at 24fps, 23.976, or something funky like 48048? I know that normally we would ask post, however post has not been lined up yet, and likely will not until after we've shot the film. So if anyone has ever done something like t…
Last reply by Jay Rose, -
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- 5 replies
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Are shot lists still a thing? I mainly do scripted drama and am constantly amazed about how much is made up on the spot. This is despite weeks of pre production and location recces.. we arrive to shoot and coverage is improvised on the day. I'm young enough to have grown up this way, but have fond memories of film school where the whole film was shotlisted and everyone had all the information to be able to get on with it. I'd love to know if this happens everywhere or just where I work.
Last reply by mikewest, -
- 6 followers
- 64 replies
- 9.5k views
Hello all! Long-time lurker, first time poster here. Firstly I’d like to say how grateful I am to you all for maintaining this amazing site, for people like myself just starting out it is a fantastic resource. The fact that I am only just posting here with questions now is a testament to the richness of debate that goes on here. Keep up the good work! So I’m going to be mixing my first low budget feature next week, I have worked mainly as a solo sound recordist and boom op so far and have very limited experience producing a mix track. This time I’ve got a great boom op and a sound utility gal working with me so I have an opportunity to get my head…
Last reply by JamesP, -
- 2 replies
- 1.3k views
I'm building an app that can connect to a Venue VRWB or the new Venue VRM2 and display data about battery life and transmitter frequency. Using the ethernet port or a Global Cache iTach with the older Venue WB you can control your venue via an iPad or iPhone. The app is available for Beta testing now. If you are interested in testing this app and providing feedback to make it better please send me a message and I can help you get it set up on your device. Here are some screenshots. Yes it supports controlling multiple venues. The goal? To give you and your team the same functionality that the Wireless Designer app provides, in your pocket! -Real time…
Last reply by Blas Kisic, -
- 2 replies
- 1.3k views
Hello, I am stumbling through the process of conforming a projects metadata to a desired nomenclature. I have very little experience with WaveAgent and have assumed that I can batch edit metadata with it, but it appears I was mistaken. Are there any good metadata batch editors that work with polywave files? Thank you. .
Last reply by alenK, -
- 3 followers
- 7 replies
- 2.2k views
https://www.videotoolshed.com/product/make-transcriber-files/ - $25 Mac or PC I do not work for VideoToolShed but Bouke, the developer, programmed this utility for me and I told him it could be useful to other sound mixers and they should put it up for sale to the public. Apparently it is now available! It's a fast and simple utility and has some nice features for us. You select the source folder for your BWFs (can manually or automatically detect frame rate), an output folder where you want the MP3s to go, check the boxes for which track or tracks you want included in the mono mix and hit create. It makes the mono mix for you so even if you …
Last reply by Philip Perkins, -
- 4 replies
- 1.3k views
I'm trying to add 1 mono file to a 8 track poly file, when I bring them into wave agent and press combine it says the process is complete but nothing happens. Can someone let me know the proper procedure to accomplish this? I should add this lone mono file is from a separate recorder, that's started a little later than the first recorder, so is it even possible to combine it in Wave Agent? Do I have to take it into a NLE or DAW, sync them, then export a 9 track poly? Thanks
Last reply by nickreich, -
- 3 followers
- 25 replies
- 3.7k views
Has anyone here had success clearing noisy birds from set? Using nonlethal methods of course:) I have a long film shoot coming up that will be shot primarily in the Hoh rainforest here in Washington state. The main problem is this is a sci fi film, so the forest is suppose to be another planet. So a native crow call will not fly. Fortunately everyone is using practical headworn mics inside the helmets, so I feel like relatively distant birds will be manageable, but again close sounds will be a problem. Also, they don't have that big of a budget, so having a falconer on set is likely a no go. My first idea would be on set playback of native bird of prey calls. Anyone here…
Last reply by Constantin, -
- 1 follower
- 17 replies
- 2.2k views
Hi, all. After starting a new show I have been getting feedback from post that the TC is not being consistent. I have put lockit box and tentacle synch on the cameras and that seemed to fix the problem. I had a look at the software update page in Zaxcom just to make sure I was running the up to date software and I saw that I had v7.57t and the latest was 7.56 I updated the software to the recommended version and now it seems to be worse than before with TC being more of an issue than before. I have searched for the 7.57t version and I couldn't see it anywhere. I'm pretty sure it was that version.... I'm jamming the boxes more often and hopefu…
Last reply by Manel, -
- 1 follower
- 3 replies
- 1.6k views
Assuming that you are able to coordinate with the wardrobe dept before major costume and outfits are created/selected, what is your standard operating procedure? What do you ask for, build in to costumes, etc? I ask because I was approached to do sound for an indie period piece / western feature, and I'd like to coordinate with wardrobe before they start making outfits exclusively out of starched silk, fresh leather and chainmail. The only other time I've been able to coordinate with wardrobe in past projects I was only able to say, COTTON COTTON COTTON.
Last reply by syncsound, -
- 1 follower
- 10 replies
- 3.6k views
I'll start off by saying I am very new to all of this, so I apologize in advance if the nature of my question seems very basic... I've rented a G3 wireless system as a wireless hop into a Sony F55. I'm using a rental house provided XLR to TRS to go out of one of the XLR main outs from a SD 633 into the Senn Tx, the input level on the Tx is set to -48. The Rx is set to output level of 0 and going into the F55 as Mic level. The F55 has a manual volume of 0 and it's db reference is -60. When I send tone from the 633, the Tx meter peaks to where it should, then drops down very low, I'm not sure if this is just the specific ballistics on this Tx... But the tone into the F…
Last reply by VASI, -
- 6 followers
- 43 replies
- 10.1k views
On some kind of mythical, possibly Quixotic journey to get marked up sides onto the iPad. Solving: Easiest way to highlight the sides from .pdf script and export to iPad app cable of interfacing with Bluetooth page-turning hardware pedal (PageFlip Firefly $109/two AA batteries is the hardware I chose). ForScore is the first and only PageFlip-compatible app I've tried. Pretty good, but would prefer an app better suited for highlighting in many colors. This one requires I hand-build all the highlighter colors and is clunky when switching pages (you have to get out of highlighting mode first) and clunky to change colors. Moot if there's an app made specifically wit…
Last reply by Scriptation, -
- 5 replies
- 1.5k views
When we are shooting multi cam docu-package b-roll of live action our producers have started interrupting the flow by asking one or more of the cam ops to quickly switch to a higher frame rate for slow motion highlights. We usually just jam sync the cameras at the start but lately have been considering using some of the new mini lock boxes. How can we integrate these boxes into our workflow and accommodate a mid stream change of frame rate on a portion of the cameras in play? My concern is that we may be attempting to evolve with use of technology just as our production practices are devolving. I was thinking perhaps we could have an extra box preset t…
Last reply by mikewest, -
- 1 follower
- 11 replies
- 2k views
When I started sound recording I was frightened of wireless so always hard wired my talent (for sit down or statics). I'm not so scared anymore and convenience, ease and dare I say it, laziness has led me to using wireless. People moving, repositioning, going for toilet breaks etc means wireless FTW. Production/most people don't seem to care and most people look at you sideways now if you want to hard wire talent. That said, my wired Tram TR-50s are I presume (all things being equal) going to always deliver better quality than wireless Trams. What do you people do? Do you ever wire anymore or is it 'old skool'?
Last reply by mikewest, -
- 0 replies
- 916 views
Hey Guys, what do I need to connect either Dipole or SharkFin antennas to my Micron Explorers. (I have two). Do I need passive or active, also would I need a distributor? It'll be a cart set-up. Would a distributor need power? ................ Waddayathink?
Last reply by Rawturnip, -
- 2 replies
- 1.2k views
Hi all I hope this does not go against the forum rules - searched long and hard, but could not find them. Feel free to delete if it violates any. We are a passionate group of Danish and American sound designers, who were tired of all the tedious and repetitive tasks we all do every day in Pro Tools. Tired of the missing shortcuts and the cumbersome workflows. So we decided to make SoundFlow - a collection of utilities to help our Post Production Sound Workflows. Our first app is SoundFlow Shortcuts. We currently have shortcuts for: - Preview, Write Automation, etc. - iZotope integration - Audio Suite search - Open/close inserts & sends - …
Last reply by tourtelot, -
- 11 replies
- 2k views
Hi all, i find the last years phonak invisible ears are commonly seen as standard in an audio-set. I mostly use them for music-playback or telephone conversations where the other side of the phone has already been filmed. i make a montage of the best take in pro-tools on my laptop, but find myself putting to much time in the right cue's for the playback than recording the good sound of the scene. i am not that big of an expert in protools, but does anyone have a solution i'd just have to enter the spacebar for playback of the next response? so i don't need to scroll with the mouse, but just divide each response in audio-blocks and press space-bar …
Last reply by Constantin, -
- 4 replies
- 960 views
I have 9.62 / 9.31 / 9.23 / on various TRXs now. After formatting the card within the TRX I normally found a "delete me" file on the card. Not now. Tried with different TRXs / versions. Any ideas?
Last reply by Matthias Richter, -
- 2 replies
- 967 views
Hello everyone, I'm trying to extract the files from a Primary Card from my Deva Fusion 10 and and error pops up saying: 1,<MIR_Zax2BWFPcCh_ERR_1>) and on the warning says it could not find available Wrapper. I have read posts about partially formatting the cards. Can it be done in the Fusion? how? Would this fix the problem? Thanks
Last reply by Manel, -
- 1 follower
- 7 replies
- 2.1k views
Does anyone know of an application that can convert broadcast waves that contain time code to an MP3 that has time code embedded? I run into this problem on a shoot today. They need transcripts right away and didn't want to wait to upload the full-size wave files because the interviews are two hours long. They Needed transcripts right away because it's a sports related show and didn't want to wait to upload the full-size wave files. I'm hoping there something out there. I gave them the mix track but they wanted an MP3 with timecode . thanks for any guidance you can give me, John
Last reply by jgbsound, -
- 1 follower
- 3 replies
- 1.2k views
Hey everybody, long time lurker taking the plunge. I'm on a project and just found out that tomorrow there will be a segment shot on an iPhone. I'm still waiting on details from production, but I wanted to ask how others have handled working with the iPhone. I'm assuming sending audio to camera isn't realistic, so I'm thinking double system with a TC slate. I see to get conflicting information online regarding frame rate. Does it shoot 29.976 frames or true 30. As far as I know they are planning on shooting in the iPhone camera app and not an app like filmic.
Last reply by Trey LaCroix, -
- 2 followers
- 11 replies
- 1.5k views
When filming live music or theatre shows, I often have to provide the stereo mix track files (two tracks from the larger multi-track set of Mono time-stamped Broadcast WAVs created on Sound Devices 970s) to Music Supervisors or similar people for them to make edit notes from. This is similar to what many of you do for Transcribing - except I find they prefer the full BWAVs instead of timestamped MP3s as is usual for transcribers. More tech-savvy music types will spot all the takes onto the timeline of Logic or Pro Tools if they have the time, but for others, I set them up with the fantastic InqScribe transcribing player to do their notes. Often they get annoyed by having …
Last reply by nickreich, -
- 1 follower
- 17 replies
- 2.3k views
Hey Guys, I'm a UK based sound recordist and I've got a TV pilot to shoot.I have a Sound Devices 744T and 442 mixer. I need to use 6 radio packs and a boom for this job and would welcome any work-arounds or maybe you've done the same thing.There's no budget to hire in any more gear so I'm thinking I'll have to "double up" on some channels.Waddayathink???
Last reply by pkautzsch,
