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Workflow
discussions about workflow from production through post-production
736 topics in this forum
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- 11 replies
- 2.2k views
Hi, I was wondering if anyone has any experience with the workflow from FCP to Protools. I'm going to be working on a show where they have been recording audio directly to the Panasonic 900 cameras and then sending the OMF files to audio Post once the shows have been picture cut. I'm going to be recording to Boom Recorder and sending the mono mix to the cameras. The problem is this: Last year on this show the dialogue editor had to manually load any files he needed from Production Audio. The OMF files sent from Editorial were used as the main audio for the final dialogue mix but any time the dialogue editor needed to go in to the original audio splits to find a track, he …
Last reply by studiomprd, -
- 9 replies
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I've just received word that newer Deva recorders will not have UDF formatting capability. Is this a sign that UDF is going away ? Mention was made to certain incompatibilities with certain computers and operating systems, but no specifics. Does anyone have any examples of problems that have occurred after supplying production with a UDF disc? Easy fixes or complete catastrophes ? Fostex is quite "invested" in the UDF formatting, correct ? I believe that the 824 ONLY formats in UDF ... Are there any other post machines besides the 824 and the DV40 that are getting a workout in telecine or post ? Mike Filosa, CAS Atlanta
Last reply by Thomas Popp, -
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- 964 views
Hi all, I'll be heading down to Rio next month and was wondering if any of you has done any work down there. Questions. 1- RF's frequency, what lectro blocks? 2- Do I need a Carnae or a manifest for customs? 3- Any local Rental houses? That's it for now. Cheers and Happy New Year Ferdi
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- 19 replies
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Last reply by Arnold F., -
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FYI - Nice job this week, working with a Sony BabyCam HD whatever-it-was.... not a P2 or similar media drive-capable camera. Tape is primary record, but they wanted to bypass tape and it's cost.... Good group, good mission.... Sound feeds camera, firewire cable feeds sound and picture to on-set latest-greatest G5 FCP tower... very pretty pictures and sound. The goal was / is a master hard-drive with full-res FCP Quicktime files ready for edit ASAP. Much time saved saved in digitizing or loading data - Cost 1 = humanoid on set running the computer system, and Cost 2 = limited firewire cable length from camera to computer .... so this MO wouldn't be app…
Last reply by wbrisett, -
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How would I go about recording audio from a scuba diver? Is that typically done in post? Are there audio communications between divers typically that I could tap into with say a small recorder, waterproofed of course? Any special connections I would need to know about?
Last reply by Michael P Clark, -
- 6 replies
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I have been IM'ing with an ADR/Dialog assistant friend who will likely spend the better part of this week having to identify and re-label the production mixer's files (recorded on a Cantar). The file names are arbitrary (but sequential) and his reports provide no cross-reference between his file names and the scene and take. In order to identify them, she listens to the first file and then extrapolates the subsequent file names from there, although she still must listen every few files to make sure they still correspond as he did not identify false takes. She did, however, describe as "fantastic" the track ID's (lav, boom, mix, etc.). Is file labeling difficult on the…
Last reply by Jeff Wexler, -
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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, -
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Hi, I just received an update for final cut pro. In the release notes it talks about iXML: http://www.apple.com/support/releasenotes/en/Final_Cut_Pro_6.0_rn/ <tape> -> reel <scene> -> scene <take> -> take <circled> -> good <note> -> log note the timecode rate will also be read from iXML (you used to set this manually) I have not yet tried this with Boom Recorder. Cheers, Take
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- 12 replies
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I just completed my first day with Boom Recorder. I am a little fearful of the massive amount of files being created in the folder on the desktop. 1. Should I have a new folder for each day of shooting? 2. If I get all 5 days of shooting in the same folder and "export to Final Cut Pro" will the first time Director be able to make heads or tails out of all the files and data? 3. The two HD cameras are jammed for timecode using time of day. They seem to be two minutes off of the time code I'm seeing, which appears to be reading the Mac's time and not the camera's timecode. How to I make sure BRP is jammed right along with the camera. CH 1 Boom CH 2 Boundary SFX 1 …
Last reply by bcopenhagen, -
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Dear all, I would be shooting a documentary with the HVX 202 on HD 1080i 25p. I was wondering while shooting on this mode is 4 Channel recording possible?? If this is possible how do I activaite it. Read and reread the manual and would like to consult the mixers in this house.... Thank You Jason Yun
Last reply by Jason Yun, -
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- 12 replies
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To those who know... Are there any post/telecine problems with .WAV polyphonic files containing only ONE track of audio? I was recording a single track on my 744T to save space, but was still set for .WAV poly. A friend of mine told you that you can't record a single track polyphonic file (although the machine lets you) because it would confuse the post machines. They would expect more than one track, thus the polyphonic terminology. I hadn't heard from anyone regarding any problems, but they don't always tell us. So from that point on I recorded two tracks of the same thing for a .WAV polyphonic file with only one mix channel. Recently, I was filling in for ano…
Last reply by RPSharman, -
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Anyone know how to get FCP (or even if it can ?) to read and understand IXML metadata from my soundfiles ? Is it a menu option, or is there a version when FCP started to read the IXML data automaticaly ? I've named my tracks in my 744t, but the editor doesn't seem to be getting that information on his end. Audio files in this workflow are being uploaded directly into the editing suite.
Last reply by bcopenhagen, -
same block
by Ferdi- 7 replies
- 1.4k views
Hi There, I'll working for a production that wants to use their gear, That's fine what I'm worried about is that we'll have 9 talents on the same block wirelles block, (they bought a bunch of 211's and they're all the same block), and I've never had that many wirelles on my bag in the SAME BLOCK. Have I said same block enough times. Your thoughts PLease. Regards Fd.
Last reply by Marc Wielage, -
- 4 replies
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That's what I have staring at me. I also have 8 RxTx and they want them ISO, so I have 2 744t running also. I've never run this setup before, so I am asking for any pitfalls some of you who have run this. These camera's have TC capabilities, as does the deck. I can keep the 744's in sync with just the c-link cable(can anyone tell me if I need to use some special cable that ISN'T a standard telephone cable). That gives me 2 TC outs. 1 to the switcher and 1 to the cameras(or should I jam every 3 hours). Will these cameras stay in sync if I jam, as opposed to linking the cameras via BNC? Do they need the Genlock also between the 3 cameras and deck to stay in sync? We…
Last reply by Michael P Clark, -
- 2 replies
- 2k views
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, -
- 10 replies
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Starting on yet another HVX-200 shoot, HD, 24P to P2 cards, recording sound both to my 702T and to camera and the editor has asked that I record timecode at the frame rate of 23.976. With this camera I have always used 29.97 because I have understood it to use that frame rate even when shooting 24P, but I did see an old post on RAMPS yesterday stating that under these circumstances it records at 23.976. Which is right? Arnold
Last reply by Philip Perkins, -
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- 895 views
Hey guys. I am new to this forum so I hope you guys can help me. I am going to kenya for a Doc and here is the setup. 2 HDX 900 Panasonic. 1 HVX 200 P2. Running with Deva 5 24/48. Sending code via Ambiant boxes to Panasonics at 29.97. They are shooting 1080i/24P. No sound will go to the Cams. True double system with NO SLATE! The editor is wondering if there is an easy way to sync my Deva V files (6 track poly) with the DVCAM tapes. Is there a way. My timecode will be the master. Anyone done this with FINAL CUT. Thanks and hope you can help. You can also contact me @BrianHanish@hotmail.com. I am leaving on 22 of July so a quick response is appreciated…
Last reply by Brian, -
- 4 replies
- 1.3k views
Doing a one-day gig with a green screen and, not having done so before, I'm not clear on whether I can boom in frame or not. Is there a reason why they might need to preserve a certain amount of green screen headroom above the actor or does it matter? A.
Last reply by RPSharman, -
- 27 replies
- 4.6k views
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, -
- 35 replies
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Hello Folks, I'm trying to nail down what I need to do to turn in 48.048k files with 30ND time code to an NTSC TV show which shoots on film (24fps). They are accustomed to DEVA V files stamped as 48048 30ND time code. Previously with my DV824 I set 29.97ND 48k with 1% pull up. No complaints. I turned in a back-up from the 744T at 30ND and 48048 - no "F" - but imagine it was never looked at. Now I am using Boom Recorder and 744T. The 744T has 48048F, which I believe automatically defaults to 30ND time code, stamps files at 48k forcing DAW to slow files to 48k 29.97ND - But since this is a real show with real equipment, I don't believe I need to trick any sys…
Last reply by takev, -
- 12 replies
- 2.2k views
Could someone please describe how first rate ADR setups operate? How do I say this without a two-page tirade? The show that I’m on has numerous sound issues. The director’s latest idea will cause most of the lines to be looped. The show is a sitcom on sound stage where director plays laugh track from sampler over the PA-- loudly. (He thinks this helps the actors…) It seems to me that my poor-man’s looping setup will not be able to keep up with the large amount of looping that will soon be required. Our system is primitive. Post makes tapes with the three o duplicate clips of the take that we need to loop. We play the clip back from a tape deck in t…
Last reply by Marc Wielage, -
- 13 replies
- 2.1k views
Hi Everyone! I'm new to this forum, so I'll give you a quick intro of myself, a sad story and ask some questions. I started my professional life as a musician. I did quite well, eventually touring for six years with a major oldies act as musical director. When arthritis curtailed my performing career I went into freelance audio engineering. When I went back to school to improve my knowledge and chops an instructor steered into audio post. About five years ago I revamped my home studio and began building my business. I've done five features, one of which won several festivals, dozens of shorts and the usual audio donkey work to supplement the slow periods. In…
Last reply by engaudio, -
- 6 replies
- 1.7k views
just posted a new version of BWF Widget Pro. a few fixes and some new features. BWF Widget Pro Version 1.175 added the following features. Will play and edit metadata on SD744T created FLAC files (lossless compressed multi-track files) Will play FLAC files with running time code Added ability to switch off iXML metadata parsing to speed up filling grid on large folders. Added ability to detect and mark files with odd byte counts in the audio data which may be problematic in other applications. Added ability to batch correct odd-length files (mono or odd byte count poly files) so they will load in AVID and Pro-Tools ----Courtney
Last reply by Marc Wielage, -
- 6 replies
- 1.5k views
On my last project there seems to be an offset between my timecode values and what Post is reading for their timecode. This happened on both my test DVD and location audio production DVD's. I am using a Tascam HD P2 recorder and the timecode for each take (in my sound reports) match the timecode on the smartslate. However, Post is using Final Cut Pro version 5.1.4 and their time code for a take is anywhere from 50 seconds to 1 minute and 10 seconds earlier than my timecode values. Post wasn't using timecode to sync up the footage and haven't had time to look into this. There doesn't seem to be any other issues or problems with the audio. I am wondering if anyone k…
Last reply by Marc Wielage,
