Workflow
discussions about workflow from production through post-production
736 topics in this forum
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- 2 followers
- 13 replies
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I just finished a reality shoot with 5 women non professional 3 were teens and they had issues putting/taping mics between their breasts. I tried to let them do it theirselves with limited luck. I am using Sanken lavs with hush foam and they work great if in the right place. I was thinking about something that would clip to the bra strap, I see some options. What works? This usually isn’t a problem until last week. Sent from my iPad using Tapatalk
Last reply by newzhack, -
- 2 followers
- 7 replies
- 2.3k views
Hi everyone. This is my first post to JW and I'm somewhat new to the location audio world. In December I'm doing my first feature film and the DP wants to use timecode which I've never used before. He is providing a Tentacle Sync and a Denecke Smart Slate which we'll be syncing to a SD 744T. The camera is an Alexa mini. I have a workflow in mind but I wanted to run it by some pros to see if I'm forgetting something. Make sure 744, slate and Tentacle are all using the same frame rate as the Alexa Use freerun mode on the 744 Using a 5 pin LEMO to 3.5mm TRS, jam the Tentacle to the 744 Attach the Tentacle to the Alexa mini using a 3.5mm TRS to…
Last reply by mikewest, -
- 12 replies
- 1.6k views
Looking at doing car scene - self drive. Mix of dialogue and playback.. RF Phonaks an option- but here is a thought... possible use an induction loop? I am guessing that the EMF and stray RF would kill it. But it has me thinking.. has anybody done this? My thought is that it could work but it would be total crap shoot... j
Last reply by mikewest, -
- 1 follower
- 8 replies
- 1.9k views
What are peoples thoughts on the matter of compression in the location sound scenario? Thank you
Last reply by soundtrane, -
- 6 replies
- 1.4k views
Hello Community, I hope this is the right place to ask this. I have run into a bit of a problem with one of my recent projects, due a rookie mistake on my part. I recorded the location sound for a 30 minute short film on a Zoom H6. Since this recorder has no built in Time-code functionalities I recorded the time-code from a Tiny Lockit onto one of the channels as LTC, syncing with the camera every few hours. The Tiny Lockit was set to 25 fps. The camera however was recording in 24 fps. Now I am wondering: is there anyway to convert the LTC audio files to 24 fps somehow? Can this be done once the timecode is added to a BWF? Or will post-production ha…
Last reply by Bouke, -
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- 5 replies
- 1.2k views
Are shot lists still a thing? I mainly do scripted drama and am constantly amazed about how much is made up on the spot. This is despite weeks of pre production and location recces.. we arrive to shoot and coverage is improvised on the day. I'm young enough to have grown up this way, but have fond memories of film school where the whole film was shotlisted and everyone had all the information to be able to get on with it. I'd love to know if this happens everywhere or just where I work.
Last reply by mikewest, -
- 32 replies
- 3.9k views
I have a film coming up and production wants to record on film and tape. I intend on using my analog mixer, take the direct outs and record the ISOs into my 788T, and send the mix to the Nagra, and back into the 788T. The idea being that everything is already there, even though the tape mix will have a delay, it'll have the slate, and the actual tape would have TC on it. I guess my question is this: should I record everything at 24fps, 23.976, or something funky like 48048? I know that normally we would ask post, however post has not been lined up yet, and likely will not until after we've shot the film. So if anyone has ever done something like t…
Last reply by Jay Rose, -
- 6 followers
- 64 replies
- 9.5k views
Hello all! Long-time lurker, first time poster here. Firstly I’d like to say how grateful I am to you all for maintaining this amazing site, for people like myself just starting out it is a fantastic resource. The fact that I am only just posting here with questions now is a testament to the richness of debate that goes on here. Keep up the good work! So I’m going to be mixing my first low budget feature next week, I have worked mainly as a solo sound recordist and boom op so far and have very limited experience producing a mix track. This time I’ve got a great boom op and a sound utility gal working with me so I have an opportunity to get my head…
Last reply by JamesP, -
- 3 followers
- 53 replies
- 8.7k views
I would like some suggestions. I currently use a 552 mixer, synced to a 744T for timecode. Generally I do my mix tracks in the 552 and my ISOs on the 744T. This works great because the mix tracks are already separated for the editor and can be joined if needed in post by timecode. It also sucks because there is no way to label shots inside the mixer, so I have to re-name all the mixer files to match the recorder files afterward, while generating the audio report in Wave Agent. Any one else deal with this? What is your process?
Last reply by Bouke, -
- 1 follower
- 9 replies
- 3.7k views
Does one need a timecode slate in order to sync footage or can one just have a lock it box to feed timecode to camera? For example if you're using a lock it box can one use a dumb slate and still sync via timecode?
Last reply by JWBaudio, -
- 2 replies
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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, -
- 4 replies
- 1.3k views
I'm trying to add 1 mono file to a 8 track poly file, when I bring them into wave agent and press combine it says the process is complete but nothing happens. Can someone let me know the proper procedure to accomplish this? I should add this lone mono file is from a separate recorder, that's started a little later than the first recorder, so is it even possible to combine it in Wave Agent? Do I have to take it into a NLE or DAW, sync them, then export a 9 track poly? Thanks
Last reply by nickreich, -
- 2 replies
- 1.3k views
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, -
- 3 followers
- 29 replies
- 6.9k views
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, -
- 1 follower
- 10 replies
- 3.6k views
I'll start off by saying I am very new to all of this, so I apologize in advance if the nature of my question seems very basic... I've rented a G3 wireless system as a wireless hop into a Sony F55. I'm using a rental house provided XLR to TRS to go out of one of the XLR main outs from a SD 633 into the Senn Tx, the input level on the Tx is set to -48. The Rx is set to output level of 0 and going into the F55 as Mic level. The F55 has a manual volume of 0 and it's db reference is -60. When I send tone from the 633, the Tx meter peaks to where it should, then drops down very low, I'm not sure if this is just the specific ballistics on this Tx... But the tone into the F…
Last reply by VASI, -
- 1 follower
- 11 replies
- 2k views
When I started sound recording I was frightened of wireless so always hard wired my talent (for sit down or statics). I'm not so scared anymore and convenience, ease and dare I say it, laziness has led me to using wireless. People moving, repositioning, going for toilet breaks etc means wireless FTW. Production/most people don't seem to care and most people look at you sideways now if you want to hard wire talent. That said, my wired Tram TR-50s are I presume (all things being equal) going to always deliver better quality than wireless Trams. What do you people do? Do you ever wire anymore or is it 'old skool'?
Last reply by mikewest, -
- 1 follower
- 17 replies
- 2.2k views
Hi, all. After starting a new show I have been getting feedback from post that the TC is not being consistent. I have put lockit box and tentacle synch on the cameras and that seemed to fix the problem. I had a look at the software update page in Zaxcom just to make sure I was running the up to date software and I saw that I had v7.57t and the latest was 7.56 I updated the software to the recommended version and now it seems to be worse than before with TC being more of an issue than before. I have searched for the 7.57t version and I couldn't see it anywhere. I'm pretty sure it was that version.... I'm jamming the boxes more often and hopefu…
Last reply by Manel, -
- 5 replies
- 1.5k views
When we are shooting multi cam docu-package b-roll of live action our producers have started interrupting the flow by asking one or more of the cam ops to quickly switch to a higher frame rate for slow motion highlights. We usually just jam sync the cameras at the start but lately have been considering using some of the new mini lock boxes. How can we integrate these boxes into our workflow and accommodate a mid stream change of frame rate on a portion of the cameras in play? My concern is that we may be attempting to evolve with use of technology just as our production practices are devolving. I was thinking perhaps we could have an extra box preset t…
Last reply by mikewest, -
- 0 replies
- 915 views
Hey Guys, what do I need to connect either Dipole or SharkFin antennas to my Micron Explorers. (I have two). Do I need passive or active, also would I need a distributor? It'll be a cart set-up. Would a distributor need power? ................ Waddayathink?
Last reply by Rawturnip, -
- 2 replies
- 1.2k views
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, -
- 3 followers
- 25 replies
- 3.7k views
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, -
- 11 replies
- 2k views
Hi all, i find the last years phonak invisible ears are commonly seen as standard in an audio-set. I mostly use them for music-playback or telephone conversations where the other side of the phone has already been filmed. i make a montage of the best take in pro-tools on my laptop, but find myself putting to much time in the right cue's for the playback than recording the good sound of the scene. i am not that big of an expert in protools, but does anyone have a solution i'd just have to enter the spacebar for playback of the next response? so i don't need to scroll with the mouse, but just divide each response in audio-blocks and press space-bar …
Last reply by Constantin, -
- 4 replies
- 960 views
I have 9.62 / 9.31 / 9.23 / on various TRXs now. After formatting the card within the TRX I normally found a "delete me" file on the card. Not now. Tried with different TRXs / versions. Any ideas?
Last reply by Matthias Richter, -
- 2 replies
- 967 views
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, -
- 1 follower
- 7 replies
- 2.1k views
Does anyone know of an application that can convert broadcast waves that contain time code to an MP3 that has time code embedded? I run into this problem on a shoot today. They need transcripts right away and didn't want to wait to upload the full-size wave files because the interviews are two hours long. They Needed transcripts right away because it's a sports related show and didn't want to wait to upload the full-size wave files. I'm hoping there something out there. I gave them the mix track but they wanted an MP3 with timecode . thanks for any guidance you can give me, John
Last reply by jgbsound,
