Workflow
discussions about workflow from production through post-production
736 topics in this forum
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- 31 replies
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How does everyone handle signal flow to their backup system? Most of us who have mixers at the front end, with direct outs, send the ISOs to your [insert your main recorder here], but does anyone do a FULL backup to a second device (ie, including mix + ISOs)? If so, how do you split the directs? If not, do you just send the mix track to the backup device? It wasn't previously an issue for me with Boom Recorder and a PD-4, as the DAT just got the mix track, or occasionally, split tracks off the 2nd main mix out from my Sonosax. Now, having dropped a 744T in the place of the DAT, I'm pondering what I should send to the 744T. Just sending the mix track sorta defeats …
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Does anyone here have any experience related to sending timecode wirelessly to a camera audio track and the workflow of using audio timecode in post? Timecode sync is essential for a upcoming production i will be working on and the style of Doc won't allow for TC slate or anything like that. Using the 664 I will be sending audio via 2 channel hop. I would like to attach a lockit box to ensure sync but there will be no TC I/O on the camera unless a extension is added. I'm pushing for the extension but if the budget won't allow it I, would the below set up work? 664 TC Lemo to TA5 female into the Lectro SMQV, then from the Lectro dual receiver to camera, …
Last reply by ninjafreddan, -
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Hi i am starting to work on a short feature and was reading about recording ambiances so naturally got me to XY and MS stereo techniques I would like to know what is the difference between them? why do you use one technique over the other? what are the situations that call for either? what mic combinations are used for each setups? how do you deal in the post with each recording? which is most popular, if thats a term what setups do most fellow pros use here? well thats a lot of questions, being pretty new to this i had to ask them Thanks in advance to all of you cheers Hari
Last reply by Don Barto, -
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- 33 replies
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Few questions. 1: Will mole skin hold the lavs all night? maybe some champagne/booze wet hazard. 2: What would be a good/safe way of wiring the mics? Two girls with dresses and no bra or underwear. Hahahahah Seriously. In the production meeting I asked them what they would be wearing. They said a dress and no underwear. Please advise.
Last reply by Reboot, -
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- 17 replies
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What's the ideal procedure for recording intense scenes where actors overlap their dialogue naturally, even when one of them is off camera or it is an over the shoulder shot. I've been getting a number of scenes lately where this is occurring and obviously this makes each cut jarring. For example: An intense scene, we are over the shoulder of Character B, looking at Character A. Character B is approaching Character A to kill her. Character B has most of the dialogue but Character A has a couple lines and is also supposed to breathing really hard and be scared. Let's say, the director wants the best sound and most flexibility in post so he is willing to ad…
Last reply by Rachel Cameron, -
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The 2 HD jobs I have coming up, 1 on the RED, 1 on Genesis, they have standardized on 23.98 for everyone (seems like a good idea). I have 2 Denecke slates. The newer TS-3 I have set at position no. 4 which is "23" and seems to work fine being fed 23.98 from my Deva. The other slate is an older TS-2 and does not have a position for "23" so I set it at the position for "24". Fed 23.98 from the Deva it seems to be working but since there is no further verification (old style slate) I can't be sure this is correct. - Jeff Wexler
Last reply by Philip Perkins, -
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I recorded audio at true 24. Some of the footage was then altered for another purpose to 23.98 dnxhd for avid. As you can imagine, the workflow for that was stupid - fcp import/convert to dnxhd timeline/spit out to dnxhd qt files. Anyhew, I now want to convert my true 24 backup audio to 23.976. Anybody have a good workflow for that? I have compressor, fcpx, and a very old version of soundtrack pro. Would love to do this in fcpx; anybody know how? Also, any guesses on whether the twain shall sync? Thank you! John
Last reply by Philip Perkins, -
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I've been asked to do a live shoot that will be airing on facebook later this month. It's going to be a 3-4 camera shoot on DSLR's and most likely there will be no more then 4-5 people on camera at one time. This is what I'm being told for now anyways. I figured I'd ask you guys what you think is the best way, equipment wise, to do this. Any info is appreciated. Thanks
Last reply by John Blankenship, -
Sound Tents... 1 2
by iMix- 2 followers
- 37 replies
- 4.7k views
Not sure where to post this in the forum, but does anyone use a great pop up enclosed sound tent? I'm about to buy the Village Blackout tent, like most the DIT's use...its super easy to setup/takedown with one person, is fully enclosed, and protects the gear from harsh elements. They are built do blackout (not really needed for me), but are also very tough and resilient. Just curious if there are other options out there to consider before dropping $1500 for a tent...
Last reply by Malcolm Davies Amps CAS, -
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- 40 replies
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Hello folks, Just signed up to this site, this is my first post. This is a pretty basic question but would help me alot. Can anyone talk me through some examples of workflow from capture through to exporting final audio. i.e repair, normalization, eq, compression. And what their go-to/favourite plug-ins / effects are. Please be as detailed as you like. The setup I'm using the most is my Rode NTG2 into Zoom h6 into Logic or Cubase. I have also just recently bought RX Elements. Thanks.
Last reply by IronFilm, -
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I am shooting a little event where they will be using a Canon 5D Mark II to roam around and record a bunch of dogs at a small show where they come up and talk about their dogs and why they should be in the show. There will be a microphone from the House, and they have a board they run it out of. I would think the easy thing would be to use an eight-inch to XLR and plug into the camera that way with manual control on so that the boar was mixing the audio. If i don't have access to the board, do I run it through my Nomad and then try and plug into the camera? Do I use my ERX to send a hop from the board (going into my mixer) and through ZaxNet send the H…
Last reply by MatthewFreedAudio, -
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I'm relatively new to recording digital at such high sampling rates. Whereas I can fully grasp and understand why 24bit is advantageous, I've yet to be fully convinced that recording over 48kHz yields any better recording, especially if I'm using mics that top out at 20kHz and am recording voice. So what are the reasons to choose 88.2, 96 or 192 sampling rates?
Last reply by RadoStefanov, -
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Just started a feature and was using an SD 702T. On Day 1 the UK's premier post company was unable to read the DVD I put in despite the fact that I could read it on my external drive & the editor could read it on his gear. Re burned another disc with the same results. Day 2 the DVD ram rushes went through perfectly. Day three the lab was unable to read the disc but we could. Day 4 everything OK Day 5 same as 1 and 3. Threw the towel in and started to sending the rushes in on CF cards. No problems since. Anyone had similar or offer any explanation? Malcolm Davies A.m.p.s. (Production Sound Mixer.)
Last reply by Fernando, -
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I'm teaching Production Sound at a couple college film programs, and have encountered a discrepancy between myself and a post production (ProTools) Instructor, a new Part Time Instructor who is moonlighting from his full time gig at DigiDesign!! He is telling our students that there is an industry trend to do massive ADR, and not even bother with production dialog. As it is coming back to me (since I'm not taking his class, just hearing from my students) he seems to be overstating a preference for, use of ADR over production tracks that I don't believe to be the case. Certainly we all appreciate that effects heavy shows (visual effects as well as sound effects!) may co…
Last reply by Noiz2, -
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Hello, I was wondering if anyone has had experience setting up an ERXTC with a custom cable with Mini-Stereo (scratch audio) and 4-pin lemo (time code) going into the RED Epic. Are there settings I should be aware about? I'm assuming the Camera Dept will know the camera well, but I just want to make sure I'm as prepared as possible for it. Thank you, -w
Last reply by Mike Wally, -
- 2 followers
- 17 replies
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Hello all. My friend and I are both lucky to study sound design at the Savannah College of Art and Design and we have access to a Fisher boom, apparently one of few out east. We've set up a time with our department to be able to practice this niche skill twice a week for 2.5 hours each day and are looking for suggestions on good exercises to help home technique! Any and all help is greatly appreciated!
Last reply by James Louis, -
- 2 followers
- 38 replies
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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, -
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Hi all, First post here and what a great resource this site is! I've done a search but can't seem to come up with much at all on my issue. So, I accidentally recorded an interview for a documentary yesterday at 24bit/96khz instead of 48khz. I'm about to hand over the files to the production company and was thinking I'd like to convert all the clips to 48khz to make their life easier in post (Avid MC) and preserve my reputation (I'm a relative newb to the audio side of things) with the post facility/producers by not making things harder for them than they need to be. My question is, is it worth doing or am I worrying about nothi…
Last reply by Paul Katzman, -
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- 18 replies
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Hi! What's your IFB workflow when working on a fetature film? Do you have a receiver feeding the video village and another transmitter for the audio out so the director and script could hear the playback as well as the live feed? Thanks!
Last reply by Philip Perkins, -
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Hi, I'm new here and new to audio. I'm primarily a writer/director, a student at a college, and have taken a couple of audio courses and read a bit on it. So even though I know very little, I know enough about audio (and care a lot about it creatively) to know that it's more expensive than picture and that a lot of attention has to be paid to it. My main problem is $$$, as even though I'm saving up for a low budget sound package, I can't realistically afford multiple 2000 dollar microphones with amazing setups. I wish- but no. So I come here from another forum with an honest question, I'm not ignorantly asking for a miracle, but some opinions on a solution to a problem- …
Last reply by studiomprd, -
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Hi All must be talked about a million times but here is my question for all you guru's out there up comming shoot on a PDW 700 settings 1080i 59.94 i intend to record on my 744t (as backup and to create MP3 files for transcribing) and output via AES_EBU to camera (so 4 iso's on the camera as well) i also will put a lockit on the camera (connect TC only) (do this on red also) i also will be recording 24 bit 48000 my question should i setup my 744t as 29.97 ND any insights greatly appreciated martijn
Last reply by jacefivesound, -
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Sorry, but I did a quick search and was unsuccessful. I'm a bit embarrassed to ask, and I even looked at the very confusing instructions. I have been asked to record 29.97 on this HD shoot. The cameras are at 23.98. I can't remember if the lockit is set for 29.97 to match my recorder or 23.98 for the camera. It's been years since I have run anything other than 23.98, and I have forgotten. I seem to remember the box being set for 23.98 and jamming it with my 29.97 time code. Is the Denecke the same, in case that's what they have? Robert
Last reply by studiomprd, -
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- 42 replies
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Hello everyone, I would like to know if in the case you're sending a mono mix to the camera you like to mix the sound of the boom and the lavalier (except in the case of phasing issues between both) or if you always choose one option to send, generally boom I assume?
Last reply by Max Futterman, -
- 11 replies
- 4.4k views
I'm sure this is not the best solution, but I've heard some people record TC in an Audio track when there is no access to a recorded with a dedicated TC input. How do you use this track to sync the other audio files to picture? What is the approximate level of this signal (line, mic, something in between)? Thanks for your input on this., at the moment I don't own a TC recorder so I'm considering all the options available. Regards, Andres.
Last reply by Philip Perkins, -
- 28 replies
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Okay so this shoot had been a great learning experience and a whopper on the nerves! Only day 2 ! I can't wait to learn more everyday !! Here's the issue: Shooting image on red one mx at 23.98 (it says 24fps on the monitor but they assure me it's a 24 time base and actually 23.98 . This link gives more discussion that this is "normal" http://www.reduser.net/forum/archive/index.php/t-78716.html My recorder is a fostex pd-6 (purchased recently from Jay Hartigan) running as master TC 23.98 which I jam twice a day to Deneke sb2a hanging on cam.. We have the chain link on cam and post informs that we are not sync. I am waiting on more details. All info I ha…
Last reply by Marc Wielage,