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Workflow
discussions about workflow from production through post-production
737 topics in this forum
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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, -
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Hi All, Post Production Audio Question: I have come across some post audio workflows and the topics of submix, buses and loudness normalization. It's a side of post audio I have not seen and it does provide cleaner and fuller audio, but I do have some questions about this workflow: To do the EQ, noise reduction, desses, etc.. for each audio clip is better to do a submix bus for each audio clip and do the EQ and other stuff OR do a submix bus for that one track and do the EQ and other stuff? and after the submix bus then do the loudness normalization? Any answers and suggestions are welcome. Thank you.
Last reply by Jay Rose, -
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Hey everyone. I am trying to use zaxconvert to convert a file from 23.98 to 29.97. When I open zaxconvert, I only see the option to "pull up" or "pull down". I am not quite sure how to takle the conversion from 23.98 to 29.97. Any help is greatly appreciated. Thanks in advance!
Last reply by howy, -
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Hey All, I am working on a music video on Thursday, but the production team is from the UK. We are using 25 fps PAL TC. Do I need any sort of pull up with this on set, or is it true that there is no pull-up or down with the PAL format? They'll be providing the DAT with the TC, I just want to make sure I set everything up properly on the PD-4. A basic question, I know, but I've never dealt with this before. Thanks, Matt
Last reply by Eric Toline, -
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, -
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Today I began a new gig with the camera operator blind-siding me with his nano flash attached to his PMW-F3. I was a little bewildered when he told me I couldn't jam TC to it. The unit itself has a internal TC display that looked pretty close to time of day so I did an eye-balled jam with my 744T and the Nano Flash both set to 23.98. I was sending the camera a wireless feed and recording on my system too, but noticed after 5 hours the nano flashes TC was ahead 30 seconds. At this point I just try to jam more often when the time presented itself.... which was never. I think I will dedicate channel 2 for the TC signal from my recorder and warn the editor before they get the…
Last reply by studiomprd, -
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Well it has been 8 years since i made my thesis on the Dutch Film Academy about sync sound, but i thought maybe for some, it can still be of any use. Let me first say that i am not aware of any firmware fixes to this problem. so test it for yourself. i did not used a Nagra for 7 years. When i did one of my films in my exam year we used all kinds of different recorders. A Cantar X2, a few SoundDevices and a Narga 6. when i received my linked audio and imported it in Pro tools i noticed some really weird behavior. The beep was perfectly sync but i noticed some of the audio being async. while others where perfectly synced. i also noticed that the regions…
Last reply by WrineX, -
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I had a very busy schedule this time, and sat in on the Mobile Video broadcast session on day one. Lead by head-of-engineering for PBS, most networks and large broadcasting companies were present / represented. Bottom Line - standards have been set for Mobile Broadcasting - regarding broadcast signals to capable mobile devices such as future phones, PDAs, perhaps dedicated digital personal TV receivers. All of the broadcast entities are NOT asleep regarding our growing penchant for the mobile video experience, and have been active in the Open Mobile Video Coalition or http://www.omvc.org/ rather than wait for us to get too addicted to wireless web viewing.... v…
Last reply by mikefilosa, -
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Here is the gear involved- Shooting at 25 fps 788T as "master clock" and for Holophone (5.1 ambiences) 2 X SD552's 2 X F900r's 4 X Denecke SB-T's Should I send TC & Genlock (Tri-Level) from the SB-T's to the Cameras but just send TC to the 552's recorder? Will they "sync" (552 files are strictly backup to the Zaxcom Hops) Do I NEED to send Tri-Level to the cameras? (not that it's a big deal!) Does anyone know what the settings for the SB-T's will be? (the 25fps is clear, but the Mode is not) Any help will be appreciated, the shoot starts Monday morning. Jason
Last reply by jason porter, -
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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, -
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I have found someone willing to pay me to get a little time behind my HVX200A and, for various reaons (budget, etc.) I am having to go straight into the HVX from my Lectro 411 receiver. Because it's a hidden camera prank-type show, monitoring with earbuds was necessary so I could hardly hear but it sounded distorted. Has anyone done this that can recommend a gain structure? A.
Last reply by Arnold F., -
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Something went wrong.. timecode hasnt been recorded on camera, so I have to sync the Zoom f6 manually to the video files. Fortunately PluralEyes 3.5 is doing well syncing up the file BUT it imports my six channel audio as surround sound and export as surround as well. Which means, channels 3 and 4 are silent and instead there is part of it in the bass track number six. I tried to export as FCPx XML as well but it doesnt work at all. I get the video files in the xml but no audio at all, video is silent and there is no audio track. Does anyone know what to do? Is there a way to change the audio configuration from surround to 6 mono in plural eyes be…
Last reply by Sound, -
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Hello, I was just wondering how people are dealing with multiple shooting fromats on the same production with regards to digital audio recorders. In the DAT days you simply had a tape for film audio and a separate tape for video audio. I have the 744 as my primary recorder, and thus far i have been creating folders for each format, and delivering the audio on two separate DVD-Rs. This method however can be cumbersome and there is a lot of "homework" involved (splitting/ combining folders, etc.). Is there a simpler way of doing this. I would love to hear how other people are dealing with this. Bartek
Last reply by Philip Perkins, -
- 1 follower
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Hi Guys, what are the legal wireless frequencies in France please?
Last reply by lestevennok, -
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Hi, I'm in urgent need of recovering some backed up Zaxfiles. I back up my Primary card on a Lacie Rugged drive through a Mac Pro. I need to recover some slates that didn't go on the backup card, but I cannot get it done. The way I do it is to copy the backup back on a CF card and open it in the Fusion. That does not work and I cannot figure out how to recover the files. Any help is welcome. Regards
Last reply by Manel, -
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- 517 views
After maximising the gain in a sound file using adobe audition, I export it and put it in premiere pro. I check the gain levels of the same file and it’s peak amplitude is -7dB. Why does this discrepancy occur? I demonstrate this in the attached video. IMG_6298.MOV
Last reply by Rick Reineke, -
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- 1k views
I've been working in TV for a while, but normally do network style studio or field stuff and it's almost always tied to a control room or production truck. I've been asked to build a show where a number of HDX900's are running around with ENG 788t based bags (generating a mono mix hopped to cam and iso's of 5 wireless channels each) and was wondering about suggestions on keeping it straight. I can't really do wireless t/c due to the building we're in so was thinking of running like this... 788t running 29.97ND free-run TOD / HDX900 running at 29.97ND free-run TOD / SB-T to jam all at tape change to make sure drift is minimized. Has anyone done this and how did it tur…
Last reply by Jon Gilbert, -
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I'm trying to conform a feature where none of the location audio BWF files have Scene/Take information in the metadata. I can use a gui like Sound Devices WaveAgent to manually enter the metadata, but doing so for 1500+ files makes me want to shoot myself in the face. Are there any open source programming modules that will allow me to go in and edit these metadata fields without getting knee deep in hex? I'm fairly fluent in Python, but I'll make do with whatever is out there. Thanks.
Last reply by mathemagician, -
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I'm about to record sound for a project that is using Sony EX3's. I'll be recording the audio external to the camera on a Sound Devices recorder. It has sample rates (amongst others) of 48kHz 48.048kHz & 48F which samples at 47952 and stamps files at 48 kHz What actual one of the above should I be using??? Regards John
Last reply by Philip Perkins, -
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Well, it looks like the film (sorry, I have to try and remember to start using the term "movie") I am going to be doing will not be shot on film as originally planned. We're going to be shooting with the Genesis and I have only done a few jobs with that camera (and only one feature movie, "Horrible Bosses" that was shot with that camera). I would like to know from anyone here who has done a feature movie recently (not interested in TV, commercials or other projects) what they were required to do. On "Horrible Bosses" we handled it just like film --- I ran standard 48K sample rate, 30 nd TC, no audio to camera and used Denecke timecode slates. It all worked out just…
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Last reply by RPSharman, -
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- 824 views
Zaxconvert 6.11 on my Mac refuses to perform any MP3 conversions, but simply crashes. Any ideas? It will do BWAV...
Last reply by James Arnold, -
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I'm working on a documentary project that I want to produce for both film and radio. Today a radio network confirmed that it will commission the radio side of the project. The producer says in an initial e-mail that he is ok with 16 bit, 44.1kHz. If I want to record 24 bit, 48kHz, will that (especially the sample rate) cause the producer a problem? When I used the word "conversion" in the subject line, is that even an appropriate description? The producer and I are going to have a discussion on Monday. Thanks.
Last reply by redge, -
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- 1.1k views
Question about the panasonic AJ-Px270. I am shooting with it week and I was wondering if it will jam to 23.98 or is it like most panasonic cameras and do I need to feed it 29.97 like the hdx-900?
Last reply by John Blankenship, -
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Hello everyone, Do new prosumer cameras still have a LANC connector? I myself do own an old Sony camera that has LANC and was thinking of connecting it via a pad to the input of an audio interface and using it as a timecode for Boom Recorder. But if new cameras don't have LANC anymore then it would be a little bit to much work. Take
Last reply by takev, -
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A buddy of mine doing a show for the WB has been recording on a Deva II for 8 weeks now. The sound has been going through telecine and they finally got around to posting his stuff and say they needed a UDF format and that the Fat 16 that he has provided cannot be read by their machines. They have some sort of laborious workaround but insist he buy a new machine. What do you guys tyhink the sitch is here? Is there an easier way for them to pull these files? TIA, Larry
Last reply by Jeff Wexler,
