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Workflow
discussions about workflow from production through post-production
736 topics in this forum
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- 24 replies
- 2.6k views
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, -
- 16 replies
- 3.3k views
Hello from North Carolina! Not sure if this is the best category to post this question. I'm coming from a camera guy background, and getting more into audio recording. I recently bought my first boom pole, and it has an internal coiled cable. It's very convenient, but is obviously a double-edged sword because with fast movements I can sometimes hear the cable hitting the inner walls of the pole. I know practice and technique are the best way to prevent this, but I was also wondering if anyone had any tips or tricks regarding this, whether technique related, or something like sleeving the cable in something soft, or ?? I've been practicing without a mic up…
Last reply by Johnny Karlsson, -
- 7 replies
- 1.3k views
In the event of working with multiple lavs in a non-scripted show, what methods do some of you use? When the talents come close to each other you can hear all these phasing anomalies. Phase reversing rarely does the trick. Riding levels is difficult since it's a non-scripted show and you never know who will speak up. Let's discuss some of the techniques used.
Last reply by MT Groove, -
- 1 follower
- 18 replies
- 3.6k views
Ok, so more boom op monitoring talk. I wanted to start a new thread instead of adding to the current "boom op monitoring" one since this is a bit of a different approach. I can't find any mention of wireless intercom systems for wireless boom op setups in older threads, and it is something I have been pondering for a few months now. My current setup is a heavy-duty padded utility belt with a Sound Devices MM-1, Lectro SMQV (for boom transmission), Lectro R1a feeding into the monitor input of the MM-1, and Lectro T1 IFB tx (with mic from Remote Audio modified 7506's plugged into it) for boom op talkback to me. All the Lectro gear is on battery eliminators and powered, …
Last reply by studiomprd, -
- 1 reply
- 770 views
I must be getting something wrong, maybe its too early in the morning.. I am using tentacle sync studio to sync audio files (no video). Usually this has always worked in the software, but this time the timecode is detected correctly but the sync map is totally wrong. Nothing is synced. What am I doing wrong? Picture below.
Last reply by Sound, -
- 49 replies
- 9k views
Hey y'all. I'm new here, but I've been mixing/booming freelance for about six years now and I keep finding that there's no "one" way to mix a narrative feature, but I'd like to read how all of you go about your work day. I was let go from a shoot recently by a sound mixer I haven't worked with much in the past. I was his boom op and utility person. I was fired in a passive aggressive way, and I don't know his personal truth behind it all, but I'm perplexed as I've been moderately successful at this craft. Enough to keep making a living at it after six years anyway. My hunch is that I wasn't up to snuff with his ideas of a good boom operator. He'd get frustrated …
Last reply by Sebben, -
- 39 replies
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I have been on a show for several years and am finally able to change things a little. (What follows is no April Fool's joke, okay??) I have been using a Deva II and a DAT machine. There. I said it. It is what the telecine people wanted and it has kept me employed for 5 years. But I'm moving on. I'm going to be using a 744T, (since they still want only ONE track the 788T seemed to be overkill for this show.) But I'm retiring the DAT. Done, thanks, and farewell. This will really make all of the 2nd unit mixers happy since they have had to scramble to find one that works. But the telecine dept. still wants some kind of backup for dailies transfer. I thi…
Last reply by studiomprd, -
- 1 follower
- 15 replies
- 2.7k views
So I find there to be an issue that keeps popping up for me, keen to see if i'm alone. I started a post here on this some time ago, but there was little feedback. I have also written to the mothership, but after a month, no reply. So i’ll put it here again, see what bites. I guess i’ll start with a question. Is there a menu option to change the way tracks are numbered, based on whether or not the mix tracks are recorded, or just the iso tracks? Why do I ask this? I’ve been in reality tv for a few years now, and record using a 788T. I love it, wouldn’t change a thing. My workflow, and often a request from post, is to never record a mix track to the HDD, but send a mix/…
Last reply by CraigF, -
- 14 replies
- 1.7k views
Hey guys, I have just come back from Costa Rica where we have been shooting a documentary. We are a very small team, and this is the very first film we are doing. We have a great story, fantastic footage from the Red Epic camera, and thanks to some people here, we also have good audio track with dialogue, ambiences and some sfx. Now we need to get started with the next phase, the picture and sound editing. Do you guys here have any do's and don'ts to share? Which software to use? Is Redcine to any use for this? Do we add all the footage and the eight audio tracks I have into the same software right away, or should we just add the A/B mix tracks from the 788 to…
Last reply by Marc Wielage, -
- 2 followers
- 6 replies
- 1.4k views
We have luckily been able to keep 24 bit 48 kHz recording a standard, which has prolonged the lifespan of our equipment, and not rendered it obsolete like the "resolution wars" that the camera companies are having. But I am curious how long that will last. A friend of mine and I, both hifi enthusiasts, found common ground with vinyl records. Then, an off handed comment on my part brought us to quarter inch tape being our medium of choice. Now we are venturing into DSD, because frankly, we don't want to wear out our tapes, lol. This got me thinking: what if DSD recording became the norm for us? A recent chat with our resident Tascam representative yielded the fact th…
Last reply by Constantin, -
- 14 replies
- 2.1k views
A long debated topic, but just to get a current perspective! So how many inputs does a recordist 'really' need in a bag, and of what type? e.g. what proportion of wired to wireless? And what about digital? And what about monitor? What about outputs? Iso, camera, bus, phones, digital, analogue? The saying 'No one size fits all' may actually not be true. The penalties of providing potentially unnecessay full spec input and output channels such as XLR panel 'real estate' and associated electronics / power consumption / menu options etc impact heavily on the overall design of a product which would surely be better served if tailored properly to the 'modern…
Last reply by Vincent R., -
- 1 follower
- 15 replies
- 3k views
"The Social Network" Sound for Film Profile Behind the scenes 'Sound' for the movie.. This film is one of THE most technically accurate films I've ever watched.. Every small detail on this is amazing.. from the screen shots of Netscape 7 browsers, to the programing code and OS, to the dialog.. The film was filmed with the RED, and edited using Final Cut Pro.
Last reply by atheisticmystic, -
- 10 replies
- 2.1k views
Hey guys (n gals?), I'll be mixing for a short using the Sony V1U pretty soon here. Does anyone know if it is possible to toggle the mic inputs between line and mic level? Through the menu, I'm sure? Also, anyone run into any odd kinks with the cam I should know about or is it basically the same as most of the rest? Thanks for the input.
Last reply by Jimmy Tuffrey, -
- 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, -
- 1 follower
- 54 replies
- 6.4k views
It seems some of you mix to mono while some mix to stereo depending on circumstances. In the event you're mixing to stereo, what are you putting on each channel? On ENG gigs it seems boom on one channel and the wireless mix to the other is common. But what about on features/reality shows/talk shows? What type of channel assignment practices are normal? Let's discuss.
Last reply by Brian, -
- 12 replies
- 1.4k views
Hey all, I'm mixing a show this weekend with the 788t/CL8. Two camera shoot, four wires and a boom, 2 hops, and IFB. The hops are 400/411 (2), and the IFB is a 400 to two R1a. My question being - If any, which should get the digital outs? Assuming the 400's can take a digital signal? My original thought was to use the digital outs to send LR to cam, and the analog to send summed to IFB. But maybe I have it backwards? Any thoughts are appreciated. Brett
Last reply by Brett Sorensen, -
- 7 replies
- 3k views
Hi, I'm about to work on a project that requires syncing the audio devices mix pre 10 to the Arri alexa mini LF. Question 1: Do I need a time code generator or will plugging the mix pre to the Arri be enough to sync up/jamm the time codes? Question 2 From what I read. Once synced they can stay in sync for 8 hours. If batteries are changed on the Arri or the mix pre. Do time codes need to be re synched? We will be using 2 cameras. Very new to time code and arri Any advice would help. Thank you so much!
Last reply by Larry Vaughn, -
- 2 followers
- 30 replies
- 7.3k views
Can someone please clearly describe what issues are caused for post production by crossing midnight during recording. Should a new clip be made on the vision/camera's and audio files/788T as soon as possible after midnight? Is this only a problem with older firmware revisions for Avid? Thanks in advance. Mega
Last reply by Richard Newton, -
- 16 replies
- 2.2k views
Hello all, I have moved this post from "General Discussion / 24 hour TC 788T" because I was not getting any answers and because I think this topic is more related to the "Workflow" theme. Could anyone please point out some criteria for selecting time code modes in productions where TC is NOT synced ? I usually work with Rec Run with my 788T, but then again I have never mixed for a long production. I assume some issues might have to do with repeated TC values causing problems in FCP / Avid, or simply going against editors´ work methods. Or issues having to do with retrieving material from shootings lasting several weeks where one ends up with thousands of files. …
Last reply by Marc Wielage, -
- 6 replies
- 1.8k views
Hello, Production called for image 1080 30p They are editing in 29.97 non drop. Camera will roll at 29.97 NDF Will be trying to receive a rec run jam from Panasonic HPX 170 (apparently only has bnc timecode out no in?) Either way my fostex pd-6 has options of only : 30 DF 29.97 DF What should I set at If cam is 29.96 NDF Here's a pic of my options Thanks!
Last reply by Marc Wielage, -
- 2 followers
- 38 replies
- 4.5k views
Can anyone recommend a book or article to help explain best or standard procedures on how to connect and maintain time code sync between camera and audio recorder? Most of what I've read concerns frame rates, free run vs rec- run, etc. Beyond specs, I'm looking to find out info such as; is it best to have a time code cable between generator (in my case the SD 664) and camera connected at all times if possible (such as cameras on sticks for a sit down interview) If frame rates and TC are synced, why is a timecode slate used? How would a Lockit box help? As I said, searching the web has not given me the hands on type of info I'm looking for. Generally I would work on …
Last reply by mikewest, -
- 10 replies
- 2.2k views
I don't know if I have this in the right section, but I will do it here and see what happens. I am an audio engineer and have a project coming up where I need to lock my audio gear to time of day TC. I am using a protools HDX system with a Sync HD. It is currently hooked to a big ben for my word clock source and I am planning on running my session at 96/32. I will resample to 48/24 after post and give it to the video guy. If I take LTC in from the time of day generator from video world, do I also need to take in his clock source? All I really need is to be locked to his time code instead of what I normally internally generate. Do I need his video positiona…
Last reply by ccsnd, -
- 12 replies
- 5.2k views
Assuming no double-sound on this question, just single or multiple video camera shoot... With all of the various frame rates that video cameras can shoot at now, how does an ENG/EFP sound tech know what time code rate to set the camera to based on any given video frame rate? Do the cameras default set the code to the "proper" default rate relative to the video frame rate? Do I just run camera TC at 29.97 DF all the time, regardless of the video frame rate the shooter has selected? Examples : 30i, 30p, 60i, 60p, 24p. Does any edit system even care whether it sees DF of NDF anymore? In HD cameras, I presume there is no more NDF/DF issue. Or do I have this wro…
Last reply by Philip Perkins, -
- 5 replies
- 1.5k views
Over the last two years I have been involved in about seven different projects that have had lots of music playback. I always request that the Pro-Tools sessions delivered for production playback have a time code audio track (LTC) that matches the original Music Master (I call this Music Timecode) that will be the Music tracks used in the Final Mix. On set I have the Music Playback Operator send me the Playback Music track and the Music Timecode which I lay down both as iso's. The concept is that the Music Timecode can serve as an exact reference for where they are in the music track for the picture editor. In the "old days", with telecine, they could extrap…
Last reply by Marc Wielage, -
- 8 replies
- 1.6k views
Hello, I am doing a shoot with a Black Magic 4K camera. I am recording sound separately on SD633 and I am in doubt of which time code setting to use: 23,97? 24? The shoot will be edited on a FCP. thanks
Last reply by Philip Perkins,
