.png.279748a58a2b862b7aa5f3b84126e232.png)
Workflow
discussions about workflow from production through post-production
737 topics in this forum
-
- 2 replies
- 1.2k views
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, -
- 3 replies
- 1.2k views
Hello everyone, I've been working on Boom Recorder 7.16 (I still have to make the new manual). And this new version will include a spectrum analyzer. I was wondering why the bands on a hardware based analyzer or graphic equalizer show bands that are based on a 1000 Hz center. 1000 looks like a pretty number, and multiplying it in your head is quite easy but it does not resemble a musical note which would be centered around 440 Hz. Now what I am really puzzled about is that they picked 1000 Hz, but the increments are thirds, which again is pretty important for musical notes again. I am just wondering about it. Boom Recorder has many more bands, so it just s…
Last reply by takev, -
- 1 reply
- 1.2k views
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, -
- 4 replies
- 1.2k views
We've got a new wrench thrown in the equation here on my current show. It seems that there has been the desire to move more swiftly and not be so tethered to a DIT station and tent for some upcoming situations. The HD and DIT combo has become the reason why we are not able to do some things that we used to be able to do with a simple (not really) film camera set up. The DP will be bringing in film cameras for certain things, not really having a plan, but will use them whenever he feels necessary. I actually think the problem is created a bit by the reluctant camera, grip, and electric department...but I'm just the sound mixer. Now my problem... I run a straight …
Last reply by curleysound, -
- 1 reply
- 1.2k views
I´m trying to set up a wireless hop to a Sony HVR-Z1U using 2 411´s at line level from a X3 wendt. Now, in the camera's audio menu, do i set to MIC or LINE level? When I set it up to line my levels are extremely low. I'm using the MC35 cables. thanks
Last reply by FSBELLA, -
- 1 follower
- 3 replies
- 1.2k views
Hey everybody, long time lurker taking the plunge. I'm on a project and just found out that tomorrow there will be a segment shot on an iPhone. I'm still waiting on details from production, but I wanted to ask how others have handled working with the iPhone. I'm assuming sending audio to camera isn't realistic, so I'm thinking double system with a TC slate. I see to get conflicting information online regarding frame rate. Does it shoot 29.976 frames or true 30. As far as I know they are planning on shooting in the iPhone camera app and not an app like filmic.
Last reply by Trey LaCroix, -
- 4 replies
- 1.2k views
Hey Everyone! Question: I am interested in the NOMAD, but would like to know if more and more sound mixers have been able to put both 788T and NOMAD together on multicrew shoots. Where the A-Mixer works the 788T, while B-Mixer runs a NOMAD. Does this cause any big snags in terms of workflow? I already got one account over the weekend from one sound buddy that said he has worked with both units on the same shoot and ran into zero issues. But I still want to get more feedback from other sound mixers to learn about any potential issues that haven't come to light yet in having these two units on the same set. Thanks!
Last reply by José, -
- 2 followers
- 7 replies
- 1.2k views
I am thinking about cutting a lav and inserting a ta3 male and female in between for easier wiring of a lav hidden in a bandanna. Has anybody tried anything like that? Sent from my HD7 T9292 using Board Express
Last reply by S Harber, -
- 4 replies
- 1.2k views
I'm curious if any posties have figured out a rough signal-to-noise ratio where their noise removal plugins will stop being effective or produce unacceptable artifacing. It would be awesome to have numbers on my acceptable level for a too-close genny or other consistent noise source before it actually screws us.
Last reply by Philip Perkins, -
- 3 replies
- 1.2k views
Hi all, I'm wondering if I can run a possible workflow by you all as this isn’t something I normally do on this scale. I’ve got a possible job coming up that involves a re-record of a voice over for a wild life documentary. At the moment it’s all speculative so far but I want to come into the first meeting with some idea of where I want to take this. So far I know they’re looking to re-record the voice over for a wild life documentary into Pashto for educational use within Afghanistan. They have managed to get copies of the documentary on DVD without the English voice over track and just with the music and sfx mix. They have a script and it is currently be…
Last reply by soundtrane, -
- 3 replies
- 1.2k views
What is the maximum amount of Tx you would allot to one Frequency Block. I got a call from a producer that has a huge order for gear into a rental house. The day rate stinks and to help make it more attractive for me I want to get my gear on board. I asked to see what she had ordered, so I can take off what I can bring and get the rental money to encourage me to work on the show. She had 10 wireless and 2 IFB all on Block 21. I told her that it would scare me a bit to have all those wireless on the same block and encouraged to split them up a bit(to share my blocks, of course). They are looking for 2 audio people to share the load. So I can see why they thought the same f…
Last reply by Paul Graff, -
- 1 follower
- 6 replies
- 1.1k views
I have a possible shoot coming up where we need to record a choir singing but apparently in time to a pre recorded track. Our plan was to play back the track a few times to the choir over speakers to get them used to the timing and to knock off some shots. Then we need to get some good clean takes of the choir singing the track. What is the best way to make this work? We were planning on playing back the track to the conductor and a few key personel on headphones or IEM's and then get them to lead the choir through the number.. I am not sure of the size of the group but could be 50 people or more. I dont have enough details yet but would be interested in how people h…
Last reply by jonathan chiles, -
.jpg.60deb0716219777743dadbbc5c367e0c.thumb.jpg.1c9a3a88e16c9817f9ba0b039743d08a.jpg)
- 2 replies
- 1.1k views
So I'm relatively new to bag / ENG recording and am looking for some workflow advice from some of you more experienced pro's. Currently I'm recording industrial applications / corp videos and typically I'll have either one lav, one boom or two lavs and one boom. I'm using a 302 that's feeding a 702t, and typically sending a boom ( ch1 ) and lav/s too ( ch2 ) in addition to feeding a back up to camera. My question is what are the best techniques to keep the lav/s single recorded channel as isolated as possible when I'm using two lavs in a close up side by side interview style format. The last time I had this situation I had my hands tied with the boom so live mixi…
Last reply by studiomprd, -
- 4 replies
- 1.1k views
Singular Software released a beta version of PluralEyes for Final Cut Pro X. Public Beta is now available. According to the developer, PluralEyes "works alongside Final Cut Pro to instantly sync multi-camera video and audio tracks; saving hours of tedious, manual syncing during post." PluralEyes site
Last reply by Philip Perkins, -
- 2 replies
- 1.1k views
I've been working on a project for a couple ofweeks, and our workflw unitl now has been. I record bwf's on set. Editor passes them through sebsky and then imports them into FCP. Now that i just did a firmware update on my 744t, i can no longer record a file with .bwf, and sebsky does not recognise the .wav files. I know the newest version of FCP can read these files with the timecode, but we are using an older version. Anyone know how to get a .wav file (thats really a .bwf) to show its timecode in FCP ? Is there another file conversion program out there ?
Last reply by Simon Paine, -
- 2 replies
- 1.1k views
Doing location recording for a shoot and I have two boom ops. I'm looking more for general coverage than focused miking so I'm thinking I might be better off with a wider cardioid rather than a shotgun mic as a lot of the coverage will be for wala type crowd scenes. I have AKG 391B's but I've never used them in this capacity. Does anyone have experience with these as boom mics? How do they handle dialog? Can they hold up in cold weather? Any insight would be appreciated. thanks.
Last reply by Adam D, -
- 7 replies
- 1.1k views
I'm working with te RED for the first time and am noticing a one second offset between what is seen on the RED monitor and my slates. Rejammed the SBT's and slates and still a one second offeset, roughly! Is this normal??
Last reply by Marc Wielage, -
- 7 replies
- 1.1k views
Ok, I have never had this problem before but I was doing a simple sit down interview with a southern man. The workflow was Cmit 5U into a SD 788T via xlr, And B6 on 400A to 411A. At points when the man started speaking at a higher level like at the beginning of a sentence or got excited, his voice would distort. But the levels on the 788T got no where even near the limiter, or they got to about -8 or -6 db. The same problem was NOT occurring with other people with no such accent. Any ideas?? Thanks, Np
Last reply by Npoberaj, -
- 3 replies
- 1.1k views
after asking many editors and not getting a proper answer: is there in fcp a function like avids "autosync" to connect the daily video and sound quick and easy ? i got the feeling that on all this red-shoots/fcp-edits the timecode fed to the camera wasnt used once. but many of the projects were edited with the scratchtrack sent to the camera, because some of the editors werent humble enough to do some dirty work before getting creative or simply dont know their software... which is a pain to the soundeditor lateron... and i am bored by phonecalls like : " ..now we have to sync it up manually by sticks, you know what that means ? " "..yes, if you want to avoid that, buy…
Last reply by Marc Wielage, -
- 7 replies
- 1.1k views
Hi all, I'm just starting out in the filmmaking world, so please forgive my lack of knowledge. I have no-budget film I'd like to make, and I'll be doing everything myself. I can't seem to wrap my head around the audio side of basic 2-actor coverage. That is, filming the over the shoulder shots, and the medium shot. Could someone break this down for me as though they're explaining it to a child? If I have the camera set up for an over the shoulder shot, and I'm booming the actors, am I booming both actors as they each speak? Or just one actor, and then the other actor when I do the reverse shot? And then for the medium or other shots? And then how should I pie…
Last reply by HarryR2, -
- 2 replies
- 1.1k views
Here is the gear involved- Shooting at 25 fps 788T as "master clock" and for Holophone (5.1 ambiences) 2 X SD552's 2 X F900r's 4 X Denecke SB-T's Should I send TC & Genlock (Tri-Level) from the SB-T's to the Cameras but just send TC to the 552's recorder? Will they "sync" (552 files are strictly backup to the Zaxcom Hops) Do I NEED to send Tri-Level to the cameras? (not that it's a big deal!) Does anyone know what the settings for the SB-T's will be? (the 25fps is clear, but the Mode is not) Any help will be appreciated, the shoot starts Monday morning. Jason
Last reply by jason porter, -
- 3 replies
- 1.1k views
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, -
- 2 replies
- 1.1k views
I'm about to record sound for a project that is using Sony EX3's. I'll be recording the audio external to the camera on a Sound Devices recorder. It has sample rates (amongst others) of 48kHz 48.048kHz & 48F which samples at 47952 and stamps files at 48 kHz What actual one of the above should I be using??? Regards John
Last reply by Philip Perkins, -
- 4 replies
- 1.1k views
Hi Guys! I'm going to do a reality show later in this month. It will start with 14 characters, plus two or three daily guests, and a presentator. The wireless TXs will be Lectros SMDA (18), with Countryman B3 capsules, and the Rxs will be Lectros Venue with VRT modules. I'm thinking about using 3 SD 788T linked for TC, and using external TC generators (Ambient Lock It) to sinc the cameras TC (seven cameras) with the sound TC. The cameras TC will be laid in a audio track, as the cameras (Sony's Z7) have no TC input. Then, to start the editing, everything would be sinc'd in an Avid. What worries me is that this "everything" is 7 image tracks with it's 2 audio tracks …
Last reply by chris_bollard, -
- 4 replies
- 1.1k views
Hello All, I'm likely doing a shoot where temperatures will drop beyond -40F. I have a Sound Devices 644 and Lectro 411/SM. I have worked in conditions of -30F but not colder. Has anyone been in this situation before? Did you have any issues? Did you use hand warmers or anything else to keep your gear warm? Thanks for any advice, Pablo
Last reply by Freeheel,
