Workflow
discussions about workflow from production through post-production
737 topics in this forum
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Hi guys! This is my first post here after a year or so as a "lurker" so bare with me. I tried finding a thread discussing this, but couldn't. Please correct and redirect me if there is one already. I am doing an interview in a couple of week, nothing special there, but as part of the interview there is also going to be a performance from a single violin player. I dont know if a stand with a stereo pair would be preferred or if I should get some clip on mic for a more discrete solution. I would love if some of you could share some knowledge and help me avoid some potential pitfalls if you have any experience with this sort of thing.
Last reply by The Immoral Mr Teas, -
- 25 replies
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I am looking for an easy way to trim an audio file while keeping tc information. Lets say the file starts at 00:00:00 - I want to edit out the part from 00:10:14 to 00:10:60 and the starting tc of the new file should be 00:10:14. Is there an easy way to do it?
Last reply by NewEndian, -
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- 25 replies
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There is no 23.98 framerate in options on my Sound Devices 744t, only 23.976. When I'm told that 23.98 is required on a shoot, can I be assured that the above rates are the same. 23.98 is just a rounding off of 23.976. I read on-line that 23.976 can cause some issues with certain software in post where 23.98 is the requested framerate. Scott
Last reply by Marc Wielage, -
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Greetings, everyone. Been doing some posting and reading over on the gearslutz and the members suggested coming here to ask the working location sound mixers. I'm a post-production editor and mixer and we recently had a feature come in that was shot on film, edited in Final Cut 23.98, audio post is 23.98 matching a 23.98 work dub and we had a heck of a time assembling original location sound from the EDLs which came in, of course, at 23.98. Well location sound was recorded at 30fps, 48kHz. I've worked on features before but have spent the past few years in television and last time I assembled any location sound was from DAT / tape , pilot tone, etc. Haha. S…
Last reply by Whit Norris, -
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- 25 replies
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Has anyone here had success clearing noisy birds from set? Using nonlethal methods of course:) I have a long film shoot coming up that will be shot primarily in the Hoh rainforest here in Washington state. The main problem is this is a sci fi film, so the forest is suppose to be another planet. So a native crow call will not fly. Fortunately everyone is using practical headworn mics inside the helmets, so I feel like relatively distant birds will be manageable, but again close sounds will be a problem. Also, they don't have that big of a budget, so having a falconer on set is likely a no go. My first idea would be on set playback of native bird of prey calls. Anyone here…
Last reply by Constantin, -
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Allright, I consider myself knowledgeable when it comes to TC but since I am working a lot in situations where things I can't explain happens, I would like to comfirm some of my "certainty". So here is a list of what I believe to be true. Please add comment on the list as per there validity. 1- TC information is taking at the beginning of a recording and the value at that time is then stamped into the Metadata field ( TC start or something of the sort. ). 2- Speed of sound is decided by sample rate NOT by TC. TC is simply a clock that runs independently to the actual audio or image and is read and recorded at the moment the recording starts. 3- If two dev…
Last reply by VASI, -
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- 24 replies
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hello, quick question, I'm working a couple of days pickups on a feature - have been told that the mix handed in for dailies is split tracks boom L, wires R, isos to be recorded too. Just to clarify I mix as normal - i.e. listen in mono and create a mix as if handing in a straight mono mix, and if I don't use wires then the wire track has nothing.. or is it expected that I'm delivering the wires no matter what on the wireless track even if boom track best..? thanks for your help in advance. Best J
Last reply by studiomprd, -
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- 24 replies
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Hey guys, today I landed my first job recording dialogue for a short film. Basically I have to record a conversation which breaks out into a fight scene. It is to be recorded on a boat, in a bathroom for the most part. Can anyone give me any tips/workflow methods as I have little idea of where to start! - What is the best method for the sort of scene? - Will I require lav mics or is a boom the best option? - Will the reverb of the bathroom force me out of using my 416 and into choosing a different mic? - Help! Cheers, Pip.
Last reply by studiomprd, -
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Now that i have some zax erx's tc packs to tagging nicely along my nomad i could theorically "jam" (big big quote here) tc in non-tc capable cameras on one audio channel, leaving the other channel for scratch track. 5d, gopros, fs700, ex1, black magic and the list goes on ( and seems to get longer ) My question is: i know "aux tc" finalcut plugin allows you to tranform audio tc into metadata for video files allowing automated sync. Is it too much assle for post to deal with audiotc that i d rather just give guidetrack (since there s also plural eyes around?). I wanna hear your audiotc stories with post. I have a feel it s not there yet much re…
Last reply by barrettaudio, -
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I would like some current advice from those in the know. The movie I am about to start has decided that 48.048 is the way to go. This is a traditional 35 mm film shoot and they will be doing some variety of digital dailies from developed negative. Deluxe Hollywood and EFilm are the facilities. I don't like the idea of 48.048 although I have done it before, I would just like to be able to discuss it a little more detailed than I have in the past. I know as well that picture editorial is going to want to take my DVD-RAM disc and pull all files-tracks into their Avid. Even after the great Digital Game Plan seminar and all the things Scott Wood had to say, I am still a little…
Last reply by Mark LeBlanc, -
- 23 replies
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I'm trying to get an HDX900 to start my 744T but have had no luck. I've connected the TC out on the HDX to the TC Lemo on my 744T and have set the timecode mode in the 744T to EXT TC-Auto Record. I start the camera rolling but nada. Anything I'm forgetting? A.
Last reply by Michael P Clark, -
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First post and I just joined the forums about an hour ago. Great site guys! I am on a reality based show that shoots with an HPX 370. We have 2 and also an F3. The 370 has 4 channels of audio but you can only monitor two at a time. My issue is we use 2 lectros for talent lavs, 1 G3 for boom pole and another for getting a line feed from an audio board. I am considering a new workflow and want to be "The GUY" that can be the expert to secure more confidence on the team. Here is what I am considering. I want to buy a 552 mixer and link it to the new Pix 240 recorder. I will be tethered by an sdi cable sending video and t/c to the pix240 and 4 wireless transmitte…
Last reply by Marc Wielage, -
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- 23 replies
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Just looking for the best workflow to record really quiet dialogue then straight into shouting dialogue within a single take. Riding levels isn't really an option as I don't know exactly when the talent will be shouting - the joy of improv. I was doing a little test with the limiters enabled which sort of worked okay but it did sound quite compressed so I'm just thinking of other ways around this. I'm stuck using lapel mics as well so I was thinking I could split one mic across 2 different faders (on a Nomad and set the trim accordingly) or would it be better to double mic with the gain set on one of the lapels for the whisper levels and the other one set for th…
Last reply by jlempen, -
- 23 replies
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I know we had a huge backup recorder thread a while back, but I just had a situation last night where my normal routine messed me up, and saved me. My norm is to run a 1 track DVD from the Deva for Telecine. I run a 1 track backup on my SD 702T. I then burn a multitrack for audio post, usually letting in run during lunch and then finish up the next morning. Last night at wrap, in the scramble to get to the truck as the pouring rain was starting, I managed to accidentally put the unfinished multitrack DVD in the Telecine box, which means that my completed 1 tack disc didn't go to telecine. The good news is, telecine went to the BU and all is fine. So again, I run…
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Last reply by RPSharman, -
- 23 replies
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This is a continuation of the CL9 thread that was started in the equipment topic. Glenn, can you explain more about the digital outputs still allowing signal pass through in the event of a processor (machine lock up etc) in a Deva/Fusion, does this still mean the attached Mix8/12 would still operate to some degree? Personally I would only ever back up my mono mix track so ideally would use something like the small zax rec that does one track + TC or is this analogue input only? I am of the opinion that both the SD and Zax digital board / rec combo's are very reliable but good to know what all the back up options are. Also when recording to both CF cards and an ex…
Last reply by Manel, -
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Hi All, This is my first post. I'm "mixing" a feature in a couple of days. I done many before, but always on a 744t. I'm using a 788t now and wondering if I should include a mix track with my dailies. Honestly, coming from post and doing on-set sound work, I can't really understand the concept. In post there will be dialogue editing and mixing and the re-recording mixers I know don't even like level changes, so I cant imagine that they'd ever use something "mixed" The only thing that I would think that a "mix" would be useful for is that maybe editors would like lit instead of the isos, but then the dialogue editor will have to go back and find the …
Last reply by studiomprd, -
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Hey everyone, I work for a university production studio where we specialize in multitrack audio recording and offer multi camera video capture. I say it in this way because, unlike film, we lock an edit in the audio realm before its sent to the video editing folks. With our current workflow the video editors have to spend a good deal of time manually realigning takes of video to the audio mix before the creative editing process can take place. Currently we record, edit, and mix our audio in Protools 11 and edit video in FinalCut Pro X. Each of the video cameras captures onto a separate SxS card and timecode and genlock are not distributed throughout the studio. …
Last reply by Marc Wielage, -
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So I've been living in a 2 track world for the last several years and I've finally upgraded to a 552/744 combo. I'm definitely new to multitracking and wanted to get an idea of some of the conventions we use. Here's some thing I'd like to know, in relation to narrative filmmaking: 1) How hot should your pre-fade isos generally be relative to the mix? 2) If you don't have enough tracks for isos and a mix, do you lose the mix and set your isos to post-fade, or do you put multiple mics on one "iso"? 3) In the mix, it makes sense that you don't cover one person with multiple mics at the same time because of phasing, perspective, etc, so does this mean that in a…
Last reply by Toy Robot, -
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Hi, I had a friend ask me what at what levels dialog, music and EFX should be mixed for a cinema release. He's finishing his project and will be playing it in a film festival in Canada from DVD. I suggested that he pop 2-3 commercial movie DVDs into his deck, check out the levels and use that as a reference. Not scientific, but it would probably be in the ball park. Any extra information would be appreciated. REgards, Ty Ford RIP Manfred Klemme
Last reply by dfisk, -
- 22 replies
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Hi, We were debating on set the other day, whether it's a serious issue (for post) to record 16 bit audio on a SD recorder to match audio recorded on XD Cam at 24 bit? The SD recorders were set to 16bit/48k. The XD Cam records (in HD422) 24bit/48k with no option to change. Should the SD recorders be set to 24bit/48k also? I'm pretty sure I know the answer but want to have some verification before I tell it how it should be next time on set!! Thanks Peter Mega
Last reply by Brian Liston, -
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- 22 replies
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Hi guys, A soundguy doing sports with lots of small recorders asked me to promote files from small, non-tc capable recorders to BWF. So, I've made him something that does this, and also can include a custom offset. So, you can set the actual TC 'somewhere' in one of the files (it has a player build in), and all the files will get the 'correct' timestamp based on a bit of math on their file creation time. (Of course this is only second accurate for the other files, as the creation time is not more accurate than that.) Now my questions: -What more should I add to make it practical for daily use? (metadata / sound report or is this overkill?) -Since ther…
Last reply by Bouke, -
- 3 followers
- 22 replies
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Was just curious to know if anyone does playback on a film set with Pro Tools and what type of setup you're using for it. How do you handle timecode for the Sound Mixer? cheers
Last reply by David Silberberg, -
- 22 replies
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I currently working on a show with my 552. Cameras are Sony V1u's shooting 59.94 drop frame. Im recording back up audio on the 552 @ 24b/48k in 30 Non Drop (as the 552 does when no external source is present). Should I batch convert the files with SD Wave Agent to 29.97 DF then burn to disc or leave them at 30 ND and let the import into Avid do the frame rate conversion?? I am sending to camera via wireless as well. I doubt these files will ever see the light of day, but i still need to do it right.
Last reply by studiomprd, -
- 22 replies
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I started this in another thread and figured it deserves it's own topic. On a film job I am use to recording in 24/48. But for video jobs in which the cameras are recording 16 bit, mainly the HVX200, I've been running 16/48. I've been told that when they start their session, in Avid, or FCP they create a 16/48 session, because the camera has that in the files. My thought, and maybe I'm wrong, was to keep the audio the same as the session ultimately created (16/48) so that there is no conversion of my audio if they need to use the 744t audio. Down converting from 24b is better than upconverting to 24b, and since it is not the sample rate being converted, I guess there woul…
Last reply by taylormadeaudio, -
- 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,
