Workflow
discussions about workflow from production through post-production
736 topics in this forum
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- 2 followers
- 14 replies
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Hi Guys Just had a job come up that is shot on a Sony F7 at 50fps shooting at 4K. Just wanted to double check time code settings with you guys. Am I right in saying I set my 788 and Lockits boxes to 25fps as it is half of the 50fps and then should all be good in post? I'm assuming all audio would be recorded off board only as the sound drops of when the camera is in off speed? I've done a screen grab of the tech spec they have sent over if you're interested in having a look. Thanks for your help.
Last reply by Constantin, -
- 19 replies
- 1.6k views
I have just received a very vague call sheet for a shoot i’m on tomorrow. It’s a nightclub with 6 performers - I reached out to the associate producer and explained I was a little confused as to what I will actually be doing and was told I may just be recording the performances from the house AV (or desk, I do not know!). I am a little frustrated about the complete lack of communication up until this point. Anyway, I expect this would be a case of recording direct outs from the desk/system - or is there something more that I’m perhaps missing? Should I ask for line up tone from the Del in order to calibrate my recorder (zoom F8) or just match meters? I apologi…
Last reply by afewmoreyears, -
- 13 replies
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I was wondering if having digital and analog wireless in the same setup can work fine all together. I own Zaxcom and Lectros, and for the moment I go all analog . But I'd like to try the Zax in digital. Just not sure if it can blend all good together or it's better to go 100 % on a side or the other. Is anyone work digital and analog and is happy to share his thoughts ? Cheers.
Last reply by Werner Althaus, -
- 3 followers
- 29 replies
- 6.9k views
Hey all, I was curious if any of those members who are experienced with soundfield/Ambisonic recording could share a bit about their delivery workflow. Obviously I know each client is different, but in general how have you been asked to do things? Some of the questions I had were: As a sound mixer do you just deliver the A-format files and be done with it? Or have you been tasked with converting the files to B-format after recording and delivering those? If so, do you bill for that time? Have you ever been asked to deliver 5.1 or 7.1 (etc, etc) files? Any other thoughts you have are appreciated! Thanks! -Mike
Last reply by Steve Whitford, -
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Looking for a simple IOS app that i can use to input TC stamp and notes into a spreadsheet. I tried using moviesslate but i do not think it is the right tool.. Very few takes but very detailed notes.. thx. j
Last reply by johngooch, -
- 6 replies
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Good Afternoon All, I hope everyone is well :-) I have an upcoming location session with a solo harmonica player - quite a virtuoso player. I wonder if anyone has any experience or tips that you may be kind enough to share? This player is not a "blues harp" player, but a very clean, melodic player who does the classic melodies as a solo artist. His sound is not the raunchier "harp sound", but more of a vocal like, pure tone delivery. He uses an interesting array of approx. 6 mounted harmonicas in various keys, in addition to the chromatic style harmonica with the "plunger" type device on the side. He doesn't use the typical close hand-held mic…
Last reply by ronmac, -
- 2 followers
- 21 replies
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Hi Group, I am currently shooting a TV-Series in Berlin and of course they didn't want to pay me to be on the tech recce. Now I am confronted with the most horrible locations. A little video as an example attached. Since it is a bigger series I didnt even wonder and thought. ADR, of course. So now I have the strange situation that the producer basically says, no ADR. For 80 days of shooting they maybe budgeted half a day of ADR. I know this is ridiculous and they should know better. Now he wants suggestions how to avoid ADR in horrible locations, besides changing the location. I already told him to hire a dialogue editor who really goes…
Last reply by IronFilm, -
- 1 follower
- 14 replies
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A post supervisor is insisting on a specific track order I’m trying to wrap my head around. ( I’m asking to just provide a mono mix + Isos) Before I push back, I was hoping to hear some thoughts. Here is what they are asking for: ”track 1 - mix boom” ”track 2 - mix lavs” “tracks 3-12 ISO’s” does anybody here work like this for a TV show? It’s scripted, and I will have a full team with me. On a wide shot would “boom mix” just be really low? I think it’s odd to have my recorded tracks be micro-managed towards something more complicated. any thoughts would be appreciated.
Last reply by Bash, -
- 7 replies
- 1.5k views
I am booming on a show where we had a sick leave cover mixer for a day, operating the shows rental 788t. Post complains now, that since then consecutively recorded mono clips end up on a new track in the timeline. The first clip on A1 the second on A2 and so on. The phenomenon occured before and was solved in the past by doing a factory reset on the 788t. However, I wonder what setting in the 788t causes this.
Last reply by DanieldH, -
- 1 follower
- 2 replies
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Hi Guys, what are the legal wireless frequencies in France please?
Last reply by lestevennok, -
- 3 followers
- 53 replies
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I would like some suggestions. I currently use a 552 mixer, synced to a 744T for timecode. Generally I do my mix tracks in the 552 and my ISOs on the 744T. This works great because the mix tracks are already separated for the editor and can be joined if needed in post by timecode. It also sucks because there is no way to label shots inside the mixer, so I have to re-name all the mixer files to match the recorder files afterward, while generating the audio report in Wave Agent. Any one else deal with this? What is your process?
Last reply by Bouke, -
- 5 replies
- 2.5k views
Hey folks, may seem like a stupid question, but is it possible to sync Video and Audio in Premiere via Metadata TC without using the dedicated Tentacle Software? The footage was shot on a Red Camera + Tentacle and a 744T, both synced. I don't have the video material, otherwise I would just test it myself. So far none of the youtube tutorials were helpful, but my guess is, that you have to use the "merge clips" function. Any help is appreciated. SoundSide
Last reply by Bouke, -
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Hello from North Carolina! Not sure if this is the best category to post this question. I'm coming from a camera guy background, and getting more into audio recording. I recently bought my first boom pole, and it has an internal coiled cable. It's very convenient, but is obviously a double-edged sword because with fast movements I can sometimes hear the cable hitting the inner walls of the pole. I know practice and technique are the best way to prevent this, but I was also wondering if anyone had any tips or tricks regarding this, whether technique related, or something like sleeving the cable in something soft, or ?? I've been practicing without a mic up…
Last reply by Johnny Karlsson, -
- 5 replies
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Hey Guys, I want to throw my balls on the court, have not worked with TC extensively. About 5 months ago I started jamming and it has been only with the Alexa's 5pin lemo. I get back to the norm, and I get set for a Red Epic W shoot and I soldered a new 4pin LEMO for the shoot, and come to find out he had a 5pin (like the Arri) and a BNC. Unfortunately I did not have my 5pin with me, I know the older Reds had 5pin LEMO. Than I found out that they have other boosters that have a BNC solo TC in? I was wondering what tips you all may have that could steer me from stumbling like I did today? P.S. In any of this correct me if I am wrong, but why…
Last reply by IronFilm, -
- 5 followers
- 81 replies
- 15.9k views
We work in an industry of large ego's and personalities, usually in high pressure environments. Inevitably, arguments and tirades make their way onto set. What have you seen? How have you diffused the situation? How would you deal with an actor throwing a transmitter across set or a stressed out AD that insists on rolling without sound, etc. Would love to hear the horror stories and the creative solutions you've used on problematic sets.
Last reply by IronFilm, -
- 2 replies
- 1.4k views
Hey Guys, thought this may be of interest. I've just done a fun job recording a Jaguar F Type Race Car. (see photo below) Some of the audio was captured by mics placed in and around the car, however, the fun part was being strapped into the back of the follow truck (a V8 Dodge) whilst we went round the track with the car in hot pursuit. So, I planted a Zoom H4N in the engine bay with a Sure SM58. I planted a Sanken Cos11 on the interior centre console of the jag, attached to a Micron TX and another identical rig on the rear of the car at a centre point between the exhaust tail pipes. I dialled down the gain on the Zoom H4N to 10 and set the Micron TXs to leve…
Last reply by Rawturnip, -
- 2 followers
- 0 replies
- 1k views
Hello guys . I know good sites with free sound effects packs. Many of these sites vary from major sound databases like Freesound . org to small blog sites dedicated to a particular niche. 99sounds lucidsamples soundbible freesfx soundimage noiseforfun freesound
Last reply by djkim, -
- 7 replies
- 2k views
Hey everyone! Long time lurker, first time poster. Let me first say that I have been extremely grateful for the wealth of information everyone has posted in these forums, it has been a great place for information. Unfortunately I am running into a problem that I haven't seen discussed yet. I am still relatively new (compared to 95% of you) and recently am being called on more and more sets with wireless follow focus systems. I am finding that I am picking up the sound of the follow focus motor when the AC is pulling focus. The lavs and boom are both picking it up when shooting indoors, but it isn't usually a problem outdoors. I originally th…
Last reply by Mungo, -
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The 2 HD jobs I have coming up, 1 on the RED, 1 on Genesis, they have standardized on 23.98 for everyone (seems like a good idea). I have 2 Denecke slates. The newer TS-3 I have set at position no. 4 which is "23" and seems to work fine being fed 23.98 from my Deva. The other slate is an older TS-2 and does not have a position for "23" so I set it at the position for "24". Fed 23.98 from the Deva it seems to be working but since there is no further verification (old style slate) I can't be sure this is correct. - Jeff Wexler
Last reply by Philip Perkins, -
- 2 followers
- 13 replies
- 3.1k views
I just finished a reality shoot with 5 women non professional 3 were teens and they had issues putting/taping mics between their breasts. I tried to let them do it theirselves with limited luck. I am using Sanken lavs with hush foam and they work great if in the right place. I was thinking about something that would clip to the bra strap, I see some options. What works? This usually isn’t a problem until last week. Sent from my iPad using Tapatalk
Last reply by newzhack, -
- 10 replies
- 2.7k views
I'm on a project that I'd love to hear some opinions on the workflow. It's a little bit confusing for me, and especially for post who's confused about the Varicam's internal 29.97. It's a multi-cam HPX3700 varicam shoot. It's shot on 1080/59.94i @ 24P The camera wants to see timecode at 29.97 (it won't accept 23.97 without error codes). The P2 files it delivers have timecode at 23.97. Post wants audio at 23.97. Lockit boxes will have to be cross jammed from 23.97 to 29.97 for the varicams. Does anybody see a problem with this setup?
Last reply by alenK, -
- 2 followers
- 7 replies
- 2.3k views
Hi everyone. This is my first post to JW and I'm somewhat new to the location audio world. In December I'm doing my first feature film and the DP wants to use timecode which I've never used before. He is providing a Tentacle Sync and a Denecke Smart Slate which we'll be syncing to a SD 744T. The camera is an Alexa mini. I have a workflow in mind but I wanted to run it by some pros to see if I'm forgetting something. Make sure 744, slate and Tentacle are all using the same frame rate as the Alexa Use freerun mode on the 744 Using a 5 pin LEMO to 3.5mm TRS, jam the Tentacle to the 744 Attach the Tentacle to the Alexa mini using a 3.5mm TRS to…
Last reply by mikewest, -
- 12 replies
- 1.6k views
Looking at doing car scene - self drive. Mix of dialogue and playback.. RF Phonaks an option- but here is a thought... possible use an induction loop? I am guessing that the EMF and stray RF would kill it. But it has me thinking.. has anybody done this? My thought is that it could work but it would be total crap shoot... j
Last reply by mikewest, -
- 2 followers
- 8 replies
- 1.9k views
What are peoples thoughts on the matter of compression in the location sound scenario? Thank you
Last reply by soundtrane, -
- 1 follower
- 9 replies
- 3.7k views
Does one need a timecode slate in order to sync footage or can one just have a lock it box to feed timecode to camera? For example if you're using a lock it box can one use a dumb slate and still sync via timecode?
Last reply by JWBaudio,