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Workflow
discussions about workflow from production through post-production
736 topics in this forum
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So our editorial department just got brand new Avids, and the Avid has decided to rename the files upon import (perhaps based on metadata). Nobody can figure out the difference in settings from before. Same editors and same files from me. And they are even in the same office of the show I just finished. Their editors can't figure it out either. Any ideas? I told them I'd ask you guys.
Last reply by RPSharman, -
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seems worth noting: "Burlington, MA -- Avid® ( Nasdaq: AVID) has announced that the majority of Emmy® Award winners across 30 categories at the 2010 Creative and Primetime Emmy Awards once again chose to use one or more Avid audio or video solutions to create this year’s top television programming. Avid customers took home statuettes in categories including: Outstanding Picture Editing, Outstanding Sound Mixing, Outstanding Drama and Outstanding Variety, Music or Comedy Series. In total, more than 90 nominees used Avid systems like Media Composer®, Pro Tools® and Sibelius® on productions including: 30 Rock, The Colbert Report, Dancing with the Stars…
Last reply by Marc Wielage, -
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Um… this might go on a bit, anyways. I'd like to share the new AVID whitepaper on Digital Cinema Aquistition for discussion. It arrived yesterday and got me thinking about a few questions to put to the experts on the front line. My experience has been setting up workflow for films through Pre-Prod into Production and then completing Post Sound to delivery. A unique sound position, interfacing with Directors wants vs Producers needs, and all the R&D in between to streamline Camera Dept and Picture Editorial to Post Sound and Mix. This work has afforded me a huge respect for the Production Sound dept and I've been lucky to work with some of the best. The entire …
Last reply by syncsound, -
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- 11 replies
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Just finished a shoot in Kew Gardens - call sheet stated to work around flight noise issues. The loc is directly underneath the Heathrow flight path. Luckily, we were only recording links 30sec-1min in length so stuck a radio on and tried to go between the worst of the flight noise (the ones which caused particular issues were the planes where you could see faces in the windows!). Has anyone filmed at this location, and if so, what was your workflow for shooting anything longer than a minute or so? Try and shoot in 'chunks' in between the worst of flight noise (very difficult in an interview situation I guess), let it go and rely on post smoothing cuts with more fli…
Last reply by Reg, -
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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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Back Up & Sound Dept. Liability Back up of data - Methods and Best Practices have been thoroughly discussed – and will continue to evolve. We all know we want to do a great job, provide perfect, organized data and get called back again. But what happens if perfection isn’t achieved? This thread is not about Practices, hardware and uploading. All well covered. This is about the liability of the Sound Department and ultimately the Sound Mixer. What is the legal “hand over” moment? The passing of responsibility? Has this ever been tested with any kind of law? Today’s basic workflow: Record on pro recorder that has at least 2 media. Mid day an…
Last reply by studiomprd, -
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I've been thinking of a cart reconfigure and have been debating on whether or not a complete backup of my ISO/Mix disc is necessary. I know some mixers that do a complete backup, and some who do mix only. I currently go the ISO/Mix and Mix only backup/telecine route. How do you roll?
Last reply by Marc Wielage, -
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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…
Last reply by RPSharman, -
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I recently bought a brand new Delkin 32GB CF card for my 788t, and found this disturbing behavior: if the recorder is turned on while the card is already inserted, neither the internal HD or the CF card appear on the screen. It took us more than an hour of troubleshooting to figure out that the culprit was the card. After I tested the issue with all my other cards to confirm this, I went back to the vendor and asked for an exchange. We tried another card and, wouldn't you know it, we had the same issue. We looked for a card from a different batch - problem gone. In order to avoid this issue, look at the back of the packaging. At the bottom, next to the bar code, you'll …
Last reply by Blas Kisic, -
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Hi all, I am new to posting to this board but I have been reading it for quite some time. I’ve searched past posting and I am not quite sure if I have all the correct answers. So I have what may seem like stupid and basic questions regarding recording on the 5D. In the past I have always recorded sound directly into the camera. Now I have a job coming up in a few weeks where we will be using the 5D (I am being told it will have the latest firmware). Production will be renting me a sound devices 744t (which I have not used before – but I’ve looked at the manual on line and researched it and I believe I can figure it out). As of now production doesn’t know…
Last reply by Eric Toline, -
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I know you guys recording to DVD or hard drives, hand over the drive at the end of the day, and then get it back once all the material is synced up... What is the system for using the 744T with the hard drive and CF? What do you do at the end of the day or end of the shoot? I am thinking a 702T might be good for me, but just not sure the folks I do business with would get it, if I handed them a CF card and said, THANKS! I guess some client and post production education here in Dallas might be in order... many thanks...cleve
Last reply by Jeff Wexler, -
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When filming live music or theatre shows, I often have to provide the stereo mix track files (two tracks from the larger multi-track set of Mono time-stamped Broadcast WAVs created on Sound Devices 970s) to Music Supervisors or similar people for them to make edit notes from. This is similar to what many of you do for Transcribing - except I find they prefer the full BWAVs instead of timestamped MP3s as is usual for transcribers. More tech-savvy music types will spot all the takes onto the timeline of Logic or Pro Tools if they have the time, but for others, I set them up with the fantastic InqScribe transcribing player to do their notes. Often they get annoyed by having …
Last reply by nickreich, -
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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, -
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I'm trying to conform a feature where none of the location audio BWF files have Scene/Take information in the metadata. I can use a gui like Sound Devices WaveAgent to manually enter the metadata, but doing so for 1500+ files makes me want to shoot myself in the face. Are there any open source programming modules that will allow me to go in and edit these metadata fields without getting knee deep in hex? I'm fairly fluent in Python, but I'll make do with whatever is out there. Thanks.
Last reply by mathemagician, -
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Does anyone know if the BBC still requires stereo elements in deliverables to be recorded in MS? I found this on their tech page which leads me to believe it still is: "Stereo programmes must be recorded so as to be compatible for listeners in mono. In general signals should be in phase between channels. The S (difference) signal should rarely exceed the M (sum) signal (otherwise cancellation can result when the signal is heard in mono)."
Last reply by Nick Flowers, -
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- 9 replies
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Hey all, I have a scene coming up involving a character singing to the radio in a small convertible car, shot with the Russian Arm/Ultimate Arm. I will drop the bag in the backseat and am planning to ask the non-driving character to hit play on a small phone feeding an earwig. In case playback NEEDS to be triggered by someone not in the car, what can I do to ensure the cleanest signal for the earwig? I have not had good experiences with talent Tx in one car and my Rx in another car. I sometimes get decent range on the 216MHz comteks going to a follow van. However, I think it's important to have the earwig Tx in the picture car. So should I hop the …
Last reply by Mungo, -
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Today, a client has asked me to do some research for a practical solution to sync one or more iPhone 12 Pros to a timecode enabled audio recorder for an upcoming double system shoot. In my particular case, that would be either my SD633 or MixPre 3II. Maximum of three inputs...two wireless lavs and a boom. I own four of the original Tentacles and have looked at the Ultrasync Blue app/hardware. I'm also looking at both the Mavis and Filmic Pro iPhone apps. If someone has sorted out a workable existing solution, I'd appreciate any feedback and experiences. Thanks! Dave Wendlinger San Francisco, CA
Last reply by nimra, -
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- 13 replies
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Hi Folks I've got a job coming up and I'm still trying to clarify the best way to work. I've done a lots of shorts and a few budget features but not really remote ENG magazine style that this is, and my experience in regards to sync is either using non t/c sync cameras or using lockits and master. (Shooting on Panasonic AJ-HPX2100 ) Is the best bet to jam 744t to camera a couple of times a day with T/C set to free run/TOD? I don't want to use lockits unless really necessary, and don't think we'll slate. I'm also wondering whether I should send a scratch guide via radio or just strap a boom to the camera. I will discuss these things with crew next week but just wa…
Last reply by jaydgolden, -
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Writing from the field. Sorry if it was mentioned.
Last reply by Marc Wielage, -
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Hi all, I'm working on a short film (very low budget) next month and have been to scout out the locations the other day, I found out that both exterior locations are going to cause me problems as ones next to a noisy road and the other is next to a scrap yard (lorry's and wagons moving about quite regularly) I am an amateur sound recordist so I dont really have much access to different microphones, my kit for this is going to be; Rode NTG 2, Rode NT4, 2 Sony radio mics, Tascam DR 60D, boom pole and blimp Just wondering what the best sound quality I could achieve is (radio mic or shotgun) Thanks in advance and let me know if you need anymo…
Last reply by Marc Wielage, -
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I am posting in the hope for some insight into the logistics of shooting documentary in the humid jungle, as it looks like I will be doing just that in the near future, on a month long shoot. I’d appreciate any advice really, but am also after a few specific things. I’m interested in what people have to say about the best way to approach the situation, as there will be between 14 & 16 talent, based in the jungle, on an environmental mission. There will be a 5 day hike thrown in as well, so i’ll obviously need disposable batts for that. A recce is underway to ascertain the conditions, and to find a HQ for power and storage for the majority of the shoot. …
Last reply by JackHenry, -
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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, -
- 1 follower
- 11 replies
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Looking to set up a new PL system on my new show. Prepared to wear a wire, but want to have the ability to mute on the boom op side. Tried out the Lectro REF Mute switch, but didn't seem to work for me. Thinking of G3's, but every channel I tried seemed to interfere with our Lectro IFB feed. Anyone have a setup of their own that they would recommend?
Last reply by Jim Gilchrist, -
- 6 followers
- 77 replies
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Hey Guys, Curious what people are using for your boom operators to listen on. Comtek? Lectro IFB? Zaxcom IFB? Hard wired? (duplex cable?) Boom box? Or maybe listen off the signal pre-recorder with a SD MM1?
Last reply by JesseKaplan, -
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Hey guys! Just want to know the general ball park range on what an op should charge for comercials and such. Hourly/daily etc. Just want to make sure I'm on the same page. Lol Sent from my SAMSUNG-SM-N900A using Tapatalk
Last reply by ndg2k005,
