Workflow
discussions about workflow from production through post-production
737 topics in this forum
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- 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, -
- 6 replies
- 4.9k views
Hi i am starting to work on a short feature and was reading about recording ambiances so naturally got me to XY and MS stereo techniques I would like to know what is the difference between them? why do you use one technique over the other? what are the situations that call for either? what mic combinations are used for each setups? how do you deal in the post with each recording? which is most popular, if thats a term what setups do most fellow pros use here? well thats a lot of questions, being pretty new to this i had to ask them Thanks in advance to all of you cheers Hari
Last reply by Don Barto, -
- 4 replies
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Next week I'm doing playback on a classical music video. We'll be using the Sony SDR-450WS camera, I see from the manual that it takes a BNC input for Time Code, which is pretty standard. However, I'm trying to figure out my best plan of attack for time code. I'm suppose to be picking up the master CD from the producer tonight, I'll record this on the Deva and strip it with time code. My playback output will have the timecode one of the analog outputs, which I planned to running to my slate, so it receives the constant time code from the point in the song that we are at. I also plan on placing that timecode on another output channel which I will run to the camera, so it …
Last reply by wbrisett, -
- 3 replies
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Special "call out" to John Pritchett / David Obermeyer - any help ? Perhaps my title should be "Fostex 824 - Deva TC issues... " I've got a friend in the heat of battle that is getting 911 calls from post. She is following the Sony Spec sheet for Genesis cameras. Audio is master clock, TOD, feeding Denecke Sync Boxes and slates.. Genesis receives timecode on Audio CH 2, Audio CH 1 = mono mix, dailies. Some background is reflected at the bottom of this post, with Mr Obermeyer and Mr Pritchett at the forefront... Firstly, can anyone explain why the spec sheet calls for 29.97 code? The Genesis is running it's own code at 23.976. And I have NO idea why 47.…
Last reply by Richard Lightstone, CAS, -
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- 35 replies
- 8.9k views
Hello Folks, I'm trying to nail down what I need to do to turn in 48.048k files with 30ND time code to an NTSC TV show which shoots on film (24fps). They are accustomed to DEVA V files stamped as 48048 30ND time code. Previously with my DV824 I set 29.97ND 48k with 1% pull up. No complaints. I turned in a back-up from the 744T at 30ND and 48048 - no "F" - but imagine it was never looked at. Now I am using Boom Recorder and 744T. The 744T has 48048F, which I believe automatically defaults to 30ND time code, stamps files at 48k forcing DAW to slow files to 48k 29.97ND - But since this is a real show with real equipment, I don't believe I need to trick any sys…
Last reply by takev, -
Deva 29.97 pulldown vs Fostex 30 pulldown
by Guest Eric Lamontagne- 2 replies
- 1.3k views
It's my understanding that the files produced within these settings from different manufactures is identical: Deva 29.97 pulldown 48k vs Fostex 30 pulldown 48k. I went through this with 48.048 but I must check and confirm with this new setup. Thanks ahead, Eric
Last reply by Izen Ears, -
- 10 replies
- 2.1k views
Hey guys (n gals?), I'll be mixing for a short using the Sony V1U pretty soon here. Does anyone know if it is possible to toggle the mic inputs between line and mic level? Through the menu, I'm sure? Also, anyone run into any odd kinks with the cam I should know about or is it basically the same as most of the rest? Thanks for the input.
Last reply by Jimmy Tuffrey, -
- 19 replies
- 50.8k views
Hi All, I had originally posted this to the 1st time w/Red thread under "Equipment", but it is more appropriate here under "Workflow". I will be doing an eight-day shoot with two Red cameras very soon. It is a dialogue-intensive comedy pilot. The editor and I have spoken, and the DIT and I have spoken, but knowledge is thin and I want to avoid problems. I am recording on Deva Fusion with a 774t as backup (available; not sure I'll use it). The editor plans to edit on Avid Media Composer and does not want to be stuck (or have an assistant be stuck) having to sync files by hand. He is concerned this will happen. The DIT says Red is optimized for FCP and he knows …
Last reply by Marc Wielage, -
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- 969 views
Shoot today w/ Sony EX-1. Client, as is typical for this kind of shoot in my area, wants primary audio recorded to the camera. We have a data wrangler/kid w/ laptop for downloading the cards and checking footage. First-thing-in-the-morning-TC discussion reveals that camera assist/data guy doesn't care about free-run vs record run TC. I have an "aha" moment: most of the objections to free-run TC in the past had to do with issues in digitising the video tape, esp into Final Cut (code breaks causing problems for post people who didn't understand how to deal with them). Now that there isn't any tape digitising going on.....nobody cares about record-run TC. Cool, I say--…
Last reply by Philip Perkins, -
- 5 replies
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Hi All This is my first post - I'm an Australian sound tech who works mainly in the Live Theatre, Effects Recordist, and Location recording of classical music and theatre. Some people I've met in this work are now keen for me to do other projects for them - more along the lines of Documentary-style location sound, and as this is an area that's interested me for years, I'm keen to get involved. I did a fair bit of direct-to-video sound mixing in the eighties, but no double-system. I have a rather newbie question that I haven't really been able to answer from previous posts here or on RAMPS: One project involves a combination of material shot of the subjects 'in perf…
Last reply by nickreich, -
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Anyone know where -20 is on the EX-1 meters? I worked on a 2-day project with it this week and could not figure that out. A.
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- 5 replies
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Sorry if this is going over ground previously covered - but I have the production on my butt for a solution. I recently recorded a TV show. Most of it I was able to mix and record (via cable straight to the camera - Varicam). On a few occassions it was decided it was unsafe to cable up (boat stuff usually) so I transmitted timecode from the Varicam to the 744T. Weeks after the shoot has finished I have got a call from the Line Producer telling me there a sync problems on the 744T material - this is after I asked the assistant editor specifically to check the sync on rushes from Day One of the shoot. The project is PAL - posting at 25P. The only timecode rate I could…
Last reply by Matt Mayer, -
- 5 replies
- 2.1k views
with regards to non linear recording and time stamps... if the time stamp is altered using bwf widget or the soon to be wave agent http://sounddevices.com/products/waveagent.htm what actually happens? When you edit a stamp and compare the edited file to non edited file i assume that you will see different numbers by the end of the recording and audio is the same amount of time given that the sample rate is the same . When you hit record, is the stamp created at LTC start( the very first bits of info create the TC stamp)? I'm guessing that if you "jam" two devices at different frame rates( by jam, i mean you think you did it correctly) that it doesnt matter if you c…
Last reply by studiomprd, -
- 16 replies
- 2.6k views
Working on a project shortly with the EX-1. If anyone has had recent experience with this can you suggest what frame rate for the timecode should be used? A.
Last reply by wbrisett, -
- 0 replies
- 1k views
Hello, I am doing an audio transcription onto a Tascam HD P2 recorder as a WAV file with audio on channel 1 and time code on channel 2. If the client asks for an MP3 file, can I convert a WAV file to a MP 3 file without time code being corrupted in the conversion process? thanks
Last reply by Mike Borlace, -
- 0 replies
- 939 views
Whoops. I guess I should pay more attention to where I'm putting this stuff. This topic has been moved to General Discussion. [iurl]http://www.jwsound.net/SMF/index.php?topic=2687.0[/iurl]
Last reply by Sonny, -
- 12 replies
- 3.1k views
Assuming that I cannot jam to the "dinkycam" (as Philip has so aptly put it) that we will be using on my next shoot, our sync options will be a smart slate jammed to my 702T or a dumb slate. I've always assumed that the timecode slate was of course the better option but I've never actually synced either (the last time I synced dailies it was on a sync block, a few presidents ago) so, for those who have synced both in either FCP or Avid, does the smart slate offer real advantages in speed, keystrokes and time? I'd love to know the difference for you. Are there other implications farther down the post-production line to consider? A.
Last reply by Bash, -
- 2 replies
- 1.3k views
Hello All, I may be doing a 5 day ENG job where the client wants audio cassettes (program on left, TC on right) for transcription. The client says they'd consider MP3 format as well. What is the standard operating procedure for making and delivering audio cassettes and/or non-linear files for transcription? It is my understanding, that in order to make a transcription cassette, one must play back the master camera tape (either through a deck or the camera) and output audio/TC into a cassette recorder. Is there a way to bypass this step altogether by using a non-linear recorder while shooting (744T in my case)? I would guess that if camera and sound's TC ma…
Last reply by Matt Mayer, -
- 14 replies
- 33.4k views
Been a while since I checked but I take it no one has yet figured out a way to jam an HVX or a Sony EX-1 (which I'm working with shortly)? thx, A.
Last reply by Philip Perkins, -
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- 4 replies
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Hello All, I'm doing a music video with my son (he's directing) and I will be handling playback along with a minimal amount of production sound. There are lots of different ways I can think of to do this, but would welcome any suggestions you might have. Its an R&B/Rap tune and we will be shooting with a Panasonic camera to P2 cards. Here's what I'm thinking. I've got a Sony HiMD minidisc recorder that I could transfer the tune to and then output that to whatever amplification system that would be appropriate. Part of this is a club scene so if there is a pa system in the house I could pump it through that. The main thing I would think, would be to get enough …
Last reply by Philip Perkins, -
- 3 replies
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What is the maximum amount of Tx you would allot to one Frequency Block. I got a call from a producer that has a huge order for gear into a rental house. The day rate stinks and to help make it more attractive for me I want to get my gear on board. I asked to see what she had ordered, so I can take off what I can bring and get the rental money to encourage me to work on the show. She had 10 wireless and 2 IFB all on Block 21. I told her that it would scare me a bit to have all those wireless on the same block and encouraged to split them up a bit(to share my blocks, of course). They are looking for 2 audio people to share the load. So I can see why they thought the same f…
Last reply by Paul Graff, -
48.048 for the first time
by Guest Eric Lamontagne- 21 replies
- 3.6k views
Yes, I'm new at this so I would like to ask the group... I'm just starting a small low budget 16mm doc on the FR2 and considering 29.97 48k with the pull up option enabled. I've been told this renders 30ndf at 48.048khz. On import into Final Cut, I'm hoping this works out to a slow down of speed to the NLE timeline. Film shot 24fps will be transfered MOS to 29.97ndf video, imported and then sunk up in FCsP (final cut semi-pro!). Film will then be cut manually from the EDL produced by Final Cut. This film cut will be delivered to a transfer house that is requesting 29.97ndf 48k audio to sync with it. This is where things are weird for me as 29.97ndf audio would have to …
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- 10 replies
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So here it ism, after years of flawless performance I have my first corrupt file. I was rolling on a 744, and as I tried to copy some files over to my external dvd ram a warning popped up "CORRUPT FILE". I tried to copy again, and nothing, I tried playing it directly just to calm my nerves, and the recorder flashed "please wait" and .... nothing again. I dragged the file into my MacBook and tried to load it into any, and all of my audio software, and they all crashed respectively. An interesting side note here when I tried dragging the entire roll folder I got a warning: "The finder cannot complete the operation because some data in 22T3.WAV could not be read or wri…
Last reply by fatfatjames, -
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- 895 views
Great article from Mix magazine talking about sync issues in the era of digital television. With the framerate/tc/sync discussions going on lately it seemed timely. http://mixonline.com/post/features/audio_late_future/index.html
Last reply by John Steigerwald, -
- 8 replies
- 1.8k views
What is the SOP to feed an interviewer questions from several clients in an adjoining room? Setup: Interviews of several people. Lighting-cameraman and soundman in room with subject and interviewer. Several clients in adjoining room with video monitor and speaker for sound. Clients request shotgun mic on stand to feed questions via IFB to interviewer. Question: How to avoid background noise to interviewer IFB (chatter/coffee cups) with "always open" mic in client room which has monitor speaker? There is no Dan Dugan Automatic Mixer in the kit.
Last reply by Daniel McIntosh,
