Workflow
discussions about workflow from production through post-production
736 topics in this forum
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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, -
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Does anyone here have any experience related to sending timecode wirelessly to a camera audio track and the workflow of using audio timecode in post? Timecode sync is essential for a upcoming production i will be working on and the style of Doc won't allow for TC slate or anything like that. Using the 664 I will be sending audio via 2 channel hop. I would like to attach a lockit box to ensure sync but there will be no TC I/O on the camera unless a extension is added. I'm pushing for the extension but if the budget won't allow it I, would the below set up work? 664 TC Lemo to TA5 female into the Lectro SMQV, then from the Lectro dual receiver to camera, …
Last reply by ninjafreddan, -
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hey gang. i have an upcoming feature that is spending a little over 2 weeks on the beach. i've actually never been on any shoots on the beach. considering the issue of the ocean roar and the salt air, does anyone have any good advice? any good tips and tricks or things to look out for? should i be worried about the salt air with any gear? shoot is fully insured, so if something goes in the water by accident, i'm covered. i will be laving actors whenever i can (mainly cos-11s), shotgun wise i have either a cs-3e or a neumann kmr 82 in my kit (i doubt my schoeps will make it out of the case). there are 3 male actors and one female actor that i'm guessing (depend…
Last reply by S Harber, -
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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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Hi, i' m on set now, in a 12 weeks HBO series. The other day, for the first time in my life, after 3 weeks of shooting, the DIT asked to me to do my own bkup, because they ( the house post prod that provides equipment and DIT on set ) cannot check every sound take, so the CF i provide them is just to sync for daylies ( even if they do 3 copies of all sound in different discs). So they say they're not responsables for the "healthy " of the sound i provide at the end of the day, because it's not all checked. Sometimes i copy the hd of my Cantar, because i want to have some nice atmos, or fx i recorded, but not for security reasons. Anyone has experienced the s…
Last reply by Michael Stahr, -
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Hi, Recently worked with the f3, and the timecode would not sync to the 744t at 23.976, the camera recording framerate. (flashing tc on 744t display) Checked the camera settings, and the sdi output is set to 59.94. Switch that to 23.976, and it syncs no problem. (solid tc on 744t display) The interesting thing is I wasn't plugged into the sdi, but into the tc out. So the tc out is linked to the sdi out setting, not the internal recording setting. Also the Zacuto viewfinder the Dp uses cannot process that the 23.976 framerate of course, and loses signal. So, I jam, disconnect tc, and reset the camera tc out to 59.94. Back in Business. My question…
Last reply by BAB414, -
- 28 replies
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Hi guys, I'm new both here in this forum and in the sound mixing profession so please go easy on me. I got a call for a job, no-budget feature, got hired and then they decide to tell me they want TC. Now, I'm using an SQN with a zoom h4n and i've been trying to figure out how to do this as I've never done TC before. I read plenty, and still got more to go, but i keep coming to the same questions that remain unanswered so I'm hoping somebody here can clarify things for me. Here goes: 1. How bad, if any, will noise from the TC track bleed to the audio track? And how do I stop it from bleeding? (i read somewhere to keep the volume in the middle but I wasn…
Last reply by studiomprd, -
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Hi Guys! I know that maybe this is a silly question after so many years of time code shoots around the world, but I've just had two doc shoots where I run my 788T in free run and I had my external TC generator attached to a video HD camera, which had it's own TC generator in free run, sending TC either to the camera's TC input or to one audio track of the camera. But the guys in post of these two docs are having really big problems sincing the sound and image now. My question is: are AVID and Final Cut able to sinc sound and image of a group of takes by TC, like all takes of a day folder, or this still has to be made take by take, one by one? Which is the exact pro…
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Last reply by Keenan925, -
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SInce the other topic was quite successful, i have some more stuff to ask... I work with a lot of different camera ( like all of us ) and a lot of camera ops. It is nearly impossible to get the same story twice, even about the same camera, about which camera does true 24fps. A lot of camera i work with actually do 23.98fps even when set to 24fps. Because i don't always have the time to verify, and since i do a lot of single system, i would like to compile a list according to our common knowledge about specific cameras and if possible there settings. Let's begin with a list of camera and then you could chime in and let us know which one actually does or doesn't do…
Last reply by rodpaul, -
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I was asked to work as a Location Sound Mixer for a reality show and they will be providing me with all the equipment. I have a question. There will be 8 wireless mics running into a mixer and then going recorded into a recorder. My question is do you think its fine to use a standard recorder such as a Zoom H4 or should I have them rent something else. Any thoughts? At this point I can't record to a computer or laptop so it has to be hardware pieces. I don't have a problem with mixing the audio and sending it to the recorder. But my concern is the audio getting all garbled up if one person is talking while the other is talking. Its a reality show so you know how things…
Last reply by chrisnewton, -
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Okay so this shoot had been a great learning experience and a whopper on the nerves! Only day 2 ! I can't wait to learn more everyday !! Here's the issue: Shooting image on red one mx at 23.98 (it says 24fps on the monitor but they assure me it's a 24 time base and actually 23.98 . This link gives more discussion that this is "normal" http://www.reduser.net/forum/archive/index.php/t-78716.html My recorder is a fostex pd-6 (purchased recently from Jay Hartigan) running as master TC 23.98 which I jam twice a day to Deneke sb2a hanging on cam.. We have the chain link on cam and post informs that we are not sync. I am waiting on more details. All info I ha…
Last reply by Marc Wielage, -
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I have a few questions that I'm not quite clear about. I've never had to deal with timecode/jamming slates to cameras before so I honestly admit that this stuff is Greek to me. I currently have a Nomad and recently purchased a Denecke TS-C and ERX1TCD. My next shoot will be a multi-camera (RED MX, DSLR, etc.) and they will be shooting at multiple frame rates throughout the project. So, what would be the correct way of handling this? 1. Do I switch the frame rates on the Nomad/TS-C according to what is being shot on the camera at that moment or is there a general project frame rate that I should stick to? 2. If the camera is shooting at 60fps what do I …
Last reply by Marc Wielage, -
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Hello, I want to record a subject to my 744T, but send a cable out to the 7D in case they want to use it. Quality is not much of an issue here (experiment that will be re-shot later). Never used a DSLR. I have a TA3 to XLR cable (balanced wiring) and an XLRF to 1/8 TRS cable, which is for a camera mic input. Don't know if this will work. And no idea about levels for line up of tone. Thoughts?
Last reply by soundslikejustin, -
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Hey guys, I switched from using a SD302 w/ a Zoom H4N to a Zaxcom Nomad. It's been quite a jump, and I love all the things it can do. On a philosophical level, I think I'm still a bit confused about multi-track recording. Hopefully you guys can help and offer some insight. When using the 302, when I turned the knob, it controlled how much or little volume the recorder would record. I would monitor from my source, since that's what I was ultimately recording. If I needed more bump, I could turn a gain knob and open it up. I assume that is post-fader recording/monitoring. By default set up, the Nomad uses post fade, i think. This makes it so that when…
Last reply by cinetj, -
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I was on a commercial shoot last week with an Alexa and the DIT on the job insisted that he strongly preferred record run TC on the Alexa saying it made it easier for him to check if any footage was missing after copying the cards. I let this go as there was no dialogue to record only atmos and fx and the camera ended up rolling at 100fps most of the time. Obviously producers should be consulted and post as well, but my inclination especially with the Alexa is to insist that audio and camera TC are jammed. I understand the DIT's reasoning but it seems that all other DIT's I have ever worked with dont lose footage and the camera runs TOD TC.. Anyone else come across t…
Last reply by pindrop, -
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I'm teaching Production Sound at a couple college film programs, and have encountered a discrepancy between myself and a post production (ProTools) Instructor, a new Part Time Instructor who is moonlighting from his full time gig at DigiDesign!! He is telling our students that there is an industry trend to do massive ADR, and not even bother with production dialog. As it is coming back to me (since I'm not taking his class, just hearing from my students) he seems to be overstating a preference for, use of ADR over production tracks that I don't believe to be the case. Certainly we all appreciate that effects heavy shows (visual effects as well as sound effects!) may co…
Last reply by Noiz2, -
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Guys, i have a good question here. DId a shoot ( 3 days and then 2 days ) on a Canon C300. The order was sound on the camera ( dialogue ) and Isos for Dialogue and some Sound effects and Ambiance on the recorder. Used a Lectrosonics SRA5P and a Denecke SB-3 on the camera. Now Post requested 29.97 Drop frame. I set the denecke to switch 9 ( 29.97 df ) and my 788T to the same, and also set the camera to 29.97 and DF. Hooked up the SB3 and the Canon confirm receiving TC by displaying an E next to the running code. Everything looked synched. Jamsync and check at lunch and end of day everyday, all was good. Got a call from Post. It looks like when i roll sound for…
Last reply by Hala, -
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I have a question about recording dialogue for a western movie. Specifically recording the dialogue while actors are on horses. I wouldn't want to solely rely on radios or ADR if the shot allows a boom to get there. But If I'm on the ground, seems to me the angle of the pole would not be right. If budget allows, do you use a Fisher (or two)? (funny thought) Would the boom ops be on horseback as well? Ya like production would go for that! Does one build a "platform" on a golf cart (with safely harness of course) or something? Maybe we "hide" a mic mounted somewhere? On the horse/saddle?....don't laugh at me. As always, maybe mic choice REALLY comes into play h…
Last reply by VASI, -
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I'll start by saying I have never done a DSLR project, and only have knowledge of assistant editors successfully using Sync n Link on some RED projects. But there were some behind-the-scenes guys hanging around on set the other day, and they had a DSLR. We chatted a bit about syncing, and they mentioned that sometimes PluralEyes gets confused in narrative work. The issue, I guess, is that with multiple takes of essentially the same performance, the waveform recognition software can have multiple matches. Anyone here experience this on their DSLR shoots? Robert
Last reply by Zack, -
- 26 replies
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I recently got a Zaxcom Deva ii for free, and although it is old, I love the sound, functionality, and form factor and want to use it for multi channel location music recordings, and for sound on small scale documentary shoots. It came with the DVD-RAM recorder. The problem I have is I can't work out how to access the files on my PC. I first tried removing the internal hard disk and plugging in to my Windows 10 computer via an IDE to USB interface. Result; no files to be seen. Next, I bought some DVD-RAM discs and tried mirroring the HDD; this has worked as the files play back on the unit from the external disk, and by visual inspection, the tracks are obviously there on …
Last reply by Christian Shaw, -
- 26 replies
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Hi guys, I'm doing a gig on May 8th in a theater here in SF. They're basically going to film the whole thing (pre-show) and my job is of course to record the sound. It's not a high profile type of event where the sound has to be really good, but of course I'd like it to be. My main concern is I only have a 302 hooked up to 702. That gives me 3 channels to play with. Setup 1: - CS3e in front of the stage (a bit farther back) to capture direct projection from the actors while not recording audience's whispers, etc. - NTG-3 on the side of the stage because one of the actors is going to be performing a monologue there. - AT4053b next to the CS3e to ca…
Last reply by deep owl, -
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- 26 replies
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Hi all, I´m have a "small" problem. I have quite a few polyphonic audio files (22 shooting days!) witch have no Production Mix tracks (Boom mix and lav mix), I have a long shot way of doing this in Wave Agent and ProTools (Bounce new mix files in PT and Combine that with the orginal in Wave Agent later. The problem is that the editors want the tracks in a specific order that I can´t seem to be able to change, making the files in wave agent. Although the option seems to be there, the order always stays the same. So I guess my questions are: Has anyone had to do this as well? Can you guys think of any other programs that could do this without wiping out track names a…
Last reply by Jeremiah Sheets, -
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- 26 replies
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Hi, A low-budget doc I have been working on is going to try remote audio-only interviews. I've been tasked with suggesting some workflow solutions. I did check the site but didn't see anything; if I missed it I'd be glad to be pointed in the proper direction. I am currently thinking along two approaches. 1. Via the Internet - Basic guidelines provided to each interviewee to minimize "noise" in their environment. - Headphones that could be mailed to each interviewee, connected to their phone in order to hear the director's questions - A USB mic mailed to each interviewee that could be connected with some ease to their…
Last reply by Philip Perkins, -
- 25 replies
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Hi all, I have landed a job mixing for a tv show and am a bit worried as they tell me there will be no or very little postproduction going into each episode (churning out 5 episodes a week so the editor will have a few days for turnaround) In my relatively limited experience there is always a fair bit of work that needs to be done on production audio, aside from eqing out hum etc. My question is to the seasoned mixers of jwsoundgroup is, in general on bigger Tv productions, how does sound post workflow go? My main concern is noise reduction, which i know is often treated with outboard/ hardware processors like cedar DNS 8 for live boradcast, but how d…
Last reply by johnpaul215, -
- 25 replies
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I'm experimenting with Timecode apps for my iPhone. To test the accuracy of the iPhone display I'm photographing my 744t display and my iPhone together at 1/500. I'm not happy with the results. Differences in frame rate is fluctuating between 5-6 frames, not just drifting in one direction. Here's my setup: iPhone adapter is http://store.vericorder.com/products/XLR-Adapter-Cable.html I tried it with a Shure A15LA line input adapter between my 744t and adapter cable, and directly. I also tried wireless with a Sennheiser G3 kit with similar results. Using the G3 gave me the ability to adjust levels going to the iPhone. I downloaded this app: http://ambie…
Last reply by Boomboom,
