Workflow
discussions about workflow from production through post-production
737 topics in this forum
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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, -
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Hello everyone i need a tutorial about rec and playback mode in cantar x3 anyone could give a help ! thank you
Last reply by Dejan Ceko, -
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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, -
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Hi everyone, So I'm going to be doing my first project shot on actual Film. (everything i've done up to now has been video) So here is my question: We are shooting on 35mm film at 24fps. It's not going to telecine. Picture will be developed and transfered to HD Video at 23.976. The audio will be synced (sunk ?) to the video in the edit suite. So, i was thinking, record all location audio at 23.976 fps, so as to match picture when it reaches the edit suite ? Am i on the right track ?
Last reply by Simon Paine, -
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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, -
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First shoot with a Nomad and a Scarlet, they will be using the on board Scarlet sound rather than what I will be recording on the Nomad because it is for a 48hr film contest. Since the Scarlet inputs at mic level, about how much would y'all recommend padding down my nomad output? Any favorite settings or anything to worry about from you Nomad and/or Scarlet users? I figured I'd just use regular xlr to trs cables to input and then reduce my output by ~40db and see what that gets me, but if anyone has nailed this before it would be great to hear it. Thanks y'all.
Last reply by glenn, -
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Hi Everyone, I have what I hope is a simple technical question I was hoping to get assistance with. If I have a recorder in particular a Cantar mini running at 48.048khz sampling rate ( pull up work flow request ) and I have a mic pre amp with an AES output connected that does not have the pull up setting @ only 48khz ( i.e. Sonosax M2D2 ) are there any drawbacks to the AES signal. I'm hoping & assuming the M2D2 is receiving clock from the X3 by default via the AES signal, therefore the clock is resolved to 48.048khz and is therefore a non issue, or perhaps I'm missing something.
Last reply by Constantin, -
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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, -
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I found something I didn´t know exists but does exactly what I was missing ... Ever needed to do a surprise playback from a Deva-File and no laptop with you? Happend to me. What I always carry with me is my iphone. If only I could load a file onto it without a computer. Here is how: get a RAVPOWER All-in-1 Filehub. It got a battery inside (could even charge your phone off it), creates its own wlan network and one can attach an USB-card reader (or HDD or thumbdrive). Download the app (free) to your ios device, connect to the RAVPOWER wlan and copy any file into your phone (within the app). Or just play back from the hub directly. …
Last reply by Matthias Richter, -
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So I'm relatively new to bag / ENG recording and am looking for some workflow advice from some of you more experienced pro's. Currently I'm recording industrial applications / corp videos and typically I'll have either one lav, one boom or two lavs and one boom. I'm using a 302 that's feeding a 702t, and typically sending a boom ( ch1 ) and lav/s too ( ch2 ) in addition to feeding a back up to camera. My question is what are the best techniques to keep the lav/s single recorded channel as isolated as possible when I'm using two lavs in a close up side by side interview style format. The last time I had this situation I had my hands tied with the boom so live mixi…
Last reply by studiomprd, -
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Just wondering about how to handle the 60 seconds of tone (-20dBFS/ roughly -20LKFS) and 30 sec of silence before the program starts when measuring/ correcting loudness to a target value of -24LKFS. The 1770-3 standard gates for silence but doesn't ignore tone so the integrated loudness will be skewed by that tone if included in the file to be measured/ corrected. I'm mixing close to -24LKFS by ear, doing what I've always done but I want to include a render for loudness to get as accurate as possible using RX5's loudness tool. If I include tone in the file (like I always did in the past) it'll turn down the audio because there's 1 minute of "content" (tone) that is 4 dB…
Last reply by Wandering Ear, -
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Hi fellas, can anyone tell me which bands work best in Munich? I've got 2020s and G2s in Ch69(854-862 for the 2020s and 830-865 for the G2s) and a Zaxcom Hop in Band 26. It's a rush job and I'm leaving on Monday, any insight would be great. Cheers, Andy.
Last reply by Andy P, -
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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, -
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Pertaining to corporate and doc work(haven't done film in a while): AS most of my clients don't know what cedar is, nor do they have post that are aware of the new software, I'm trying to figure out a standard of how to use the new technology. Currently I've set up a bus with processing called "processed audio", or I've added the plugin to the master buss two both channels. Any thoughts on what a "standard" could be? I understand if post made this request, but at the moment I've not yet had one. Is there any reason other than client knowledge why we should be still recording a stereo master track? Say a two person on cam interview, With the 8 series we can make two …
Last reply by codyman, -
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Hi y'all I'm planning some rather complicated vehicle SFX recording sessions and realized I'm going to need to use free running timecode on 4+ units. One of the issues I'm running into is I've never jammed an F8 via BNC to an MP6ii using HDMI mini. I'm not really sure what the workflow here is since I don't think you can get cabling that works this way. I'm not familiar enough with the timecode features, but I think you can have the MP6 follow an exteral timecode box via the TRS line in port of the recorder, but is it possible to jam the device that way? I don't want to go down the path of buying a lot of extra cables that I'm not sure will work or not, so any …
Last reply by kaipaquin, -
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Hi all, has anybody successfully Genlocked the Arri mini LF or the Alexa LF from the external timecode source (via Sensor - Genlock - TC In) using something other than Ambient or tentacle sync timecode generators? I’m trying to use my Betso TCX 2+ but I am getting Genlock errors flash up on the camera multiple times during the day and occasionally the 1st AC loses picture. I have swapped to an Ambient system & all appears fine. Thanks Steven
Last reply by Max Chernyaev, -
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Doing location recording for a shoot and I have two boom ops. I'm looking more for general coverage than focused miking so I'm thinking I might be better off with a wider cardioid rather than a shotgun mic as a lot of the coverage will be for wala type crowd scenes. I have AKG 391B's but I've never used them in this capacity. Does anyone have experience with these as boom mics? How do they handle dialog? Can they hold up in cold weather? Any insight would be appreciated. thanks.
Last reply by Adam D, -
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I've been working on a project for a couple ofweeks, and our workflw unitl now has been. I record bwf's on set. Editor passes them through sebsky and then imports them into FCP. Now that i just did a firmware update on my 744t, i can no longer record a file with .bwf, and sebsky does not recognise the .wav files. I know the newest version of FCP can read these files with the timecode, but we are using an older version. Anyone know how to get a .wav file (thats really a .bwf) to show its timecode in FCP ? Is there another file conversion program out there ?
Last reply by Simon Paine, -
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I'm rigging a psc euro cart for a drama series and have the possibility of using a pic six pack to wrangle receivers together. I'd like to send signal to a 788t from wisycom mcr42 via aes but can't tell if it will work. I've contacted the mfg, but they haven't gotten back to me yet so I'm hoping I can discover something here. is there anyone here who currently does this? is there a workaround that was necessary? the psc six pack is a perfect layout for me as I'll have two booms and 6 lavs most days, but perhaps there are other good options? (no, the sound dashboard will not work, as I need only 3 slot-in wisys). I'll build the db37 myself from an existing xl88. /Mile…
Last reply by Miles Anderson, -
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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, -
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So I have a four day commercial shoot. The shoot is on 35mm and all the subjects are on green screen. I've had my 744 for about nine months now and the hometown company takes my files off my flash card straight to their computer. This would be the first time I would be burning a disc to send with the film, off to the land of OZ. I tried to explain this to them and asked how they wanted to deliver it. I told them I would be recording at the standard rates for 24 fps film; 30 fps, 24 bit, 48 k. The only reply back I got was to send them cd-r's. Day one is here and we record our first shots and go to pack up. I get my slate back and notice the second had covere…
Last reply by syncsound, -
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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, -
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I 've been getting a lot of sibilance when recording dialog with the MSH-10 mic, which is otherwise a nicely balanced sounding mic. Just wanted to know if it is a matter of technique, microphone characteristics or an inherent shotgun design problem.
Last reply by whatalob, -
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Hello all, been viewing this great forum for a while. Diving in with my first post. I did a search but couldn't find anything relevant, apologies if the topic has already been covered. I just purchased an iPad, Movieslate app & have installed CL WIFI on the iPad. I'll be going the paperless route for my sound reports & I would like to do the same for scripts, reading & annotating them on the iPad. Anyone doing this? Here's some background info, if at all helpful: I work on a long running television series that currently gives paper scripts to all crew members that need it. I use these to write my sound reports on the back of (notes mainly) &a…
Last reply by AudioMTL, -
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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,
