Workflow
discussions about workflow from production through post-production
736 topics in this forum
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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, -
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Hi Guys Just had a job come up that is shot on a Sony F7 at 50fps shooting at 4K. Just wanted to double check time code settings with you guys. Am I right in saying I set my 788 and Lockits boxes to 25fps as it is half of the 50fps and then should all be good in post? I'm assuming all audio would be recorded off board only as the sound drops of when the camera is in off speed? I've done a screen grab of the tech spec they have sent over if you're interested in having a look. Thanks for your help.
Last reply by Constantin, -
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Hey guys, I switched from using a SD302 w/ a Zoom H4N to a Zaxcom Nomad. It's been quite a jump, and I love all the things it can do. On a philosophical level, I think I'm still a bit confused about multi-track recording. Hopefully you guys can help and offer some insight. When using the 302, when I turned the knob, it controlled how much or little volume the recorder would record. I would monitor from my source, since that's what I was ultimately recording. If I needed more bump, I could turn a gain knob and open it up. I assume that is post-fader recording/monitoring. By default set up, the Nomad uses post fade, i think. This makes it so that when…
Last reply by cinetj, -
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A Sound Design Mix Pre 3II can record 32 bit float files. I use Logic Pro X for my sound editing and, as I understand things, it converts 32 bit float files to 24 bit while ingesting them. If that is the case, is there any point in recording the original audio file as 32 bit float? Thanks in advance for any information.
Last reply by Olle Sjostrom, -
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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, -
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I need to create a thump track. A daw with an internal metronome would be best. Most have internal click track generators but they are pitched too high to be a good thump. I have tried cutting low freq tones and cutting a pasting them into a timeline but that is not the most efficient way to do it. I tried this method with audacity but strange annoying clicking artifacts were revealed. ideas? john.
Last reply by seppesvg, -
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I am using the term "workflow" here in reference to the ways in which we need to have our "work" "flow" during typical shooting day, rather than it's normal reference to how our tracks flow through the production-post chain. Many people are using 2 recorders on a job; in the cases I am most familiar with this would be a Deva and a Sound Devices 744T or 788T. We know that all the common recorders can make a deliverable disk, typically a DVD-RAM disk with Broadcast Wave files on it, and when using these 2 recorders it is not such a big deal to burn a disk using each machine and turn in 2 disks. My question is, when using the SD recorder, for example, to record some po…
Last reply by Jeff Wexler, -
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So I've been living in a 2 track world for the last several years and I've finally upgraded to a 552/744 combo. I'm definitely new to multitracking and wanted to get an idea of some of the conventions we use. Here's some thing I'd like to know, in relation to narrative filmmaking: 1) How hot should your pre-fade isos generally be relative to the mix? 2) If you don't have enough tracks for isos and a mix, do you lose the mix and set your isos to post-fade, or do you put multiple mics on one "iso"? 3) In the mix, it makes sense that you don't cover one person with multiple mics at the same time because of phasing, perspective, etc, so does this mean that in a…
Last reply by Toy Robot, -
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Hi Guys, It's looks like I'm gonna be doing a weight loss reality show. I have a SD 442, at most I will be running four wires. It's a one camera show for the most part, except for bigger days, they might bring out another camera. They are thinking about multi-tracking this year. I've suggested the 788 but I think I can get away with it on a 744. What are your thoughts? On the 744 can a make a stereo mix and do four ISO tracks? I would be using a denecke SB3 into the camera. Should I run it 24hr free run? I will also be tied to the camera giving it a stereo mix. Any advice you can give me or anything I might be missing would help. Thanks guys.
Last reply by Marc Wielage, -
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Hi Folks I've been asked to work on a documentary following a soccer team through its season. The director wants to hidden body mic key players during practice and games. I have put mics on athletes before - even with "clean" hidden mounts I tend to hear the jersey flapping/bouncing on and off the chest, with both sternum mounts and when taping or vamping the mic on the uniform, especially as the jersey becomes soaked with sweat. Sternum mounts with tape tended not too last long before the sweat eliminated the stick from the tape and the mount comes off. I've use Tegaderm, Moleskin, toupée tape, etc., all with similar results. Vampire clips at the col…
Last reply by atheisticmystic, -
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Hey guys, I am sure this has been covered before on here but I was wondering if anyone could tell me their process for working on a shoot. I am really new to this area of audio (I recently had a lecture from a soundie at SAE where i'm studying audio and was inspired so much so that I am starting a company with a friend) and need to learn the ins and outs before I try my hand at it! Any advice at all is much appreciated. Cheers, Pip.
Last reply by sounddguy, -
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I will be working on a scripted drama shoot. I have worked on dramas but most of them were semi amateur. The shoot starts in 3 days. What should I ask from the director other then script,camera/sync information? What is your usual workflow when working on dramas? Thanks
Last reply by RadoStefanov, -
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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, -
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I would like some current advice from those in the know. The movie I am about to start has decided that 48.048 is the way to go. This is a traditional 35 mm film shoot and they will be doing some variety of digital dailies from developed negative. Deluxe Hollywood and EFilm are the facilities. I don't like the idea of 48.048 although I have done it before, I would just like to be able to discuss it a little more detailed than I have in the past. I know as well that picture editorial is going to want to take my DVD-RAM disc and pull all files-tracks into their Avid. Even after the great Digital Game Plan seminar and all the things Scott Wood had to say, I am still a little…
Last reply by Mark LeBlanc, -
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I'm experimenting with Timecode apps for my iPhone. To test the accuracy of the iPhone display I'm photographing my 744t display and my iPhone together at 1/500. I'm not happy with the results. Differences in frame rate is fluctuating between 5-6 frames, not just drifting in one direction. Here's my setup: iPhone adapter is http://store.vericorder.com/products/XLR-Adapter-Cable.html I tried it with a Shure A15LA line input adapter between my 744t and adapter cable, and directly. I also tried wireless with a Sennheiser G3 kit with similar results. Using the G3 gave me the ability to adjust levels going to the iPhone. I downloaded this app: http://ambie…
Last reply by Boomboom, -
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Hi guys, I'm new both here in this forum and in the sound mixing profession so please go easy on me. I got a call for a job, no-budget feature, got hired and then they decide to tell me they want TC. Now, I'm using an SQN with a zoom h4n and i've been trying to figure out how to do this as I've never done TC before. I read plenty, and still got more to go, but i keep coming to the same questions that remain unanswered so I'm hoping somebody here can clarify things for me. Here goes: 1. How bad, if any, will noise from the TC track bleed to the audio track? And how do I stop it from bleeding? (i read somewhere to keep the volume in the middle but I wasn…
Last reply by studiomprd, -
Your Sound Team 1 2
by Den Nic- 2 followers
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Hey guys, just curious as to how different people operates their sound team on narrative Film/TV. This came out of a Sound Assistant call with the union I got on Degrassi which had the Sound Assistant lav micing actors all day (I don't know if it was any/all actors or just guests), which I thought was odd (Since lav micing is a lifetime of work to master, hence I would think that would be the mixers job). Just a short outline of your team positions and responsibility in very brief terms would be great Oh, and the type of gig you're listing it for (Or exact show if you feel like sharing). Thanks guys, much appreciated!
Last reply by Johnathan Sessoms, -
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Hi all, I´m have a "small" problem. I have quite a few polyphonic audio files (22 shooting days!) witch have no Production Mix tracks (Boom mix and lav mix), I have a long shot way of doing this in Wave Agent and ProTools (Bounce new mix files in PT and Combine that with the orginal in Wave Agent later. The problem is that the editors want the tracks in a specific order that I can´t seem to be able to change, making the files in wave agent. Although the option seems to be there, the order always stays the same. So I guess my questions are: Has anyone had to do this as well? Can you guys think of any other programs that could do this without wiping out track names a…
Last reply by Jeremiah Sheets, -
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I would like to know how do you manage a Multitrack recording in your sound report sheets in order to have the best workflow between the sound location engineers and the postproduction crew. do you miss (people from postproduction) any information? does anybody have a model or a improvement? thanks
Last reply by GrahamTimmer, -
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What's the average percentage for your lavs that you don't get clothes rustle/noise, drop outs or hits, etc on your lavs? I'd say about 40-50% of the time I lav someone it's clean without any really bad rustle. Sometimes I have no issues at all when I get the placement just right with cotton shirts, other times I'd assume it's completely useless. I do narrative work where I have to hid the mics almost 90% if I can't hide it in plain sight.
Last reply by mikewest, -
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Hi all, I'm starting a feature in a month. In a recent meeting re sound work flow with the sound designer, the dialogue editor, the picture editor and myself i came across the following that surprised me a little and to be hones upset me abit. The sound post people wanted to see if the editor could cut the picture with all the ISOs so they wouldn't have to reconform after. That I understand as it would save time, specially as this is not a big budget project and they don't have an assistant. But when enquiring why they wanted all the ISOs present in every take, bot the dialogue editor and the sound designer confirmed to me that they wouldn't be using my mix at all, that…
Last reply by studiomprd, -
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Hey all, I've been wondering how you all record and/or mix the wide shot. Normally I had done it with a combo of COS 11s and Schoeps MK 41. However, recently I've gotten a Sanken CS3e and it has some interesting properties that sort of "change" the game, so to speak. The main property I speak of is its strange bit of reach. It seems to sound good enough that I would figure we would not even need lavaliers in post. It kind of eliminates the need for my COS-11s as the main microphones in many wider shots. However! If I A/B the two microphones I almost always use the Schoeps. It just makes the ambience of the room sound better. On the other hand, doesn't th…
Last reply by studiomprd, -
- 28 replies
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SInce the other topic was quite successful, i have some more stuff to ask... I work with a lot of different camera ( like all of us ) and a lot of camera ops. It is nearly impossible to get the same story twice, even about the same camera, about which camera does true 24fps. A lot of camera i work with actually do 23.98fps even when set to 24fps. Because i don't always have the time to verify, and since i do a lot of single system, i would like to compile a list according to our common knowledge about specific cameras and if possible there settings. Let's begin with a list of camera and then you could chime in and let us know which one actually does or doesn't do…
Last reply by rodpaul, -
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Hi everyone. We are shooting a reality (cooking with challenges) TV show next week. I'm gathering all needed information, techniques, advices in order to make everything smooth. I'm assembling 9 soundmen. We are using PSC Promix6 and Azden FMX42 for the mixers, Sennheiser SK 3063 and EK 3241, G2's and G3's for the lavs and Sennheiser MKH 70, MKH 60 and ME66/K6 for the boom mics. We are shooting in the Philippines. It's a cooking/reality/challenge show. Challenges will include river rafting, ATV rides among others. There might be lot of running, following the contestants. We are wired directly to a Canon C300 camera. The producer doesn't want a separate recorder since it w…
Last reply by maniemjr, -
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I see a lot of people carry about the amount of mic preamps on XYZ mixer / recorder. Personally I use at least two mic preamps and the others are wireless (so the mic preamp is the transmitter). I see and read a huge amount of sound mixers to worry about "how many mic preamps have this". Curious to see the results. You must not be confused with "how many tracks".
Last reply by Jaymz,