Workflow
discussions about workflow from production through post-production
736 topics in this forum
-
- 17 replies
- 4.4k views
I sent my production sound (DVD-RAM) to an assistant editor for dailies syncing on FCP and he's not able to read the discs on his Macs. He said he tried it on three different machines. The DVD-RAMS were made from an external FW burner from a 744T. They read fine on my laptop PC. I'm not a Mac owner or user so I could use some help here. Does a Superdrive need new particular software to read DVD-RAM? Thanks for any advice.
Last reply by larry long, -
- 7 replies
- 4.3k views
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, -
- 12 replies
- 4.3k views
Hi, I think I'm in the right forum, but I was looking for some advice on setting up my newly acquired 442 mixer with my 744T. I will be using the 4 mic inputs on the 442 and then outputting these 4 into my 744T inputs. When I output a -20db 1KHz tone from 442 into 744, the levels are way too hot on channel 1+2 in the 744 and the 2 volume knobs don't go low enough. My question is, is it best for me to change the 2 channel input switches on the 744 to line level (from mic) or to change the 442 direct outs to -20db (via the internal menu) and would there be benefits to either one. Thanks all.
Last reply by Marc Wielage, -
- 1 follower
- 12 replies
- 4.3k views
Did a gig yday where i realized after the day started that the camera had an external recorder on it. And that the timecode on camera did not represent what was actually recorded so video tc was way off my audio tc. It was no biggie since we had good scatch audio on camera and we used my tc slate but it could have been easily avoided.. It was a pretty stupid mistake from my part and i warn other mixers to double check what media is recording. I m gonna get all senatorized on this one but i don t care. I wanna share my experience and warn mixers to double check before starting to roll what media end up being used. Merry christmas y'all!
Last reply by Marc Wielage, -
- 36 replies
- 4.3k views
Hey all, I have been asked to record audio to the 5D Mark II. I have a mixer friend making up a cable for me and I will be testing the rig tomorrow. I have downloaded the manual but I think it's old. Can anyone give me some instructions on gain settings, how to achieve those settings, or just point me to a very current manual that has details about the external audio settings? Thanks for anyone who has the patience to lend a hand. Please no responses about double system, it's what the client wants right now, not what I want. Thanks Brian
Last reply by RPSharman, -
- 1 follower
- 25 replies
- 4.2k views
Greetings, everyone. Been doing some posting and reading over on the gearslutz and the members suggested coming here to ask the working location sound mixers. I'm a post-production editor and mixer and we recently had a feature come in that was shot on film, edited in Final Cut 23.98, audio post is 23.98 matching a 23.98 work dub and we had a heck of a time assembling original location sound from the EDLs which came in, of course, at 23.98. Well location sound was recorded at 30fps, 48kHz. I've worked on features before but have spent the past few years in television and last time I assembled any location sound was from DAT / tape , pilot tone, etc. Haha. S…
Last reply by Whit Norris, -
- 23 replies
- 4.2k views
First post and I just joined the forums about an hour ago. Great site guys! I am on a reality based show that shoots with an HPX 370. We have 2 and also an F3. The 370 has 4 channels of audio but you can only monitor two at a time. My issue is we use 2 lectros for talent lavs, 1 G3 for boom pole and another for getting a line feed from an audio board. I am considering a new workflow and want to be "The GUY" that can be the expert to secure more confidence on the team. Here is what I am considering. I want to buy a 552 mixer and link it to the new Pix 240 recorder. I will be tethered by an sdi cable sending video and t/c to the pix240 and 4 wireless transmitte…
Last reply by Marc Wielage, -
- 2 followers
- 8 replies
- 4.2k views
Just finished a Show for Arte which is about Food and Cooking, We were in different Kitchens in Europe, include the Kitchen of EU Parliament. I had some problem with the Chef Cloth, it's really dick, and most of them are also very noisy. I tried with Vampier Mount with VT500, some times works, some time not, Moll-skin did not work for me. Sometimes, I hear very a noise from the cloth it self (If i put the mike hired, it's there, but for sure it's not a sound of rubbing, if I put the Mic outside, it's much better). I am just wondering, the Show like "MasterChef", how did they mount their Mic? I would be happy and thankful for every tips and tricks. Thanks.
Last reply by Peter Mega, -
- 20 replies
- 4.2k views
Hey gang, Quick version of this post: do you run mic or line level into a Red camera? The long version...had a rough day on set today - here goes my rant: Discovered after the day that audio sent to 2 Red cameras was distorted - not because it was clipping on the input of the cameras - it was "crunchy" in and of itself (peaks were in the -15 range, as far as I could tell from a quick glance of a final cut playback). I had sent tone to the cameras, got the thumbs up - listened on my end of the breakaways - seemed less than perfect, but only had a quick chance to check. (note, with my new rig, I do not have an easy way to listen to headphone returns - workin on th…
Last reply by greg sextro, -
- 2 followers
- 16 replies
- 4.2k views
I'm curious how other mixers charge for expendables on feature films. Normally I supply what's needed and charge production a negotiated daily fee. I use all rechargables, and since they last for a lot longer than 1 show, it seems silly to buy new sets every feature, especially since I will use them on other jobs in between. However rechargables do wear out and I find myself replacing my batteries every other year or so. Not just batteries, neopax last for a while, but need to be replaced, and of course tapes etc get used up. I've talked to several mixers, all with different answers, so... How do you deal with expendables? Do you charge a daily fee? Do you give …
Last reply by studiomprd, -
- 5 replies
- 4.2k views
So I did a film (shot on film) last year and recorded at 30 NDF 48/24 on a Fostex PD-6. The editor just send me an email because he was having a syncing issue, and basically he just realized: "You recorded at 30 frames non-drop, but all the footage from [post house] is at 23.98 fps."His digital files of the film just have the first two tracks, and he wanted to get at the others. What's the best way to batch convert a lot of wave files? I know Wave Agent lets you change the frame rate, but is that just the meta tag or the actual frame rate? I recorded the files on a PD-6 so nothing actually shows up under "frame rate" in Wave Agent, which is what makes me think it's a meta…
Last reply by RadoStefanov, -
- 36 replies
- 4.1k views
If I sync two recorders with SMPTE timecode (i.e. not genlock), how precise is the synchronization? I take it for granted that it's precise within a frame or it wouldn't be reliable for picture sync. What I'm wondering about it audio sync: If I'm trying to maintain phase coherency between tracks for a musical recording, is syncing with timecode sample-accurate? I kind of assume it wouldn't be (since there's no precision below frame level). And, if that assumption is correct, what's the best way to sync two recorders with sample-level precision? Genlock (but isn't that for synchronizing camera clocks)? A shared input recorded on both recorders? Is sample-level …
Last reply by NoiseHead, -
- 3 followers
- 21 replies
- 4.1k views
I was at a "news event" with all the major networks, local affiliates, and even some tabloids present. I had to tune my bag around due to local tv antennas hitting half of my body mic and hop blocks. I was also getting intermod from our satellite truck's IFB - once I got their freq i was able to see the intermod in Freq Finder and dial to a clear freq. No prob with Freq Finder - and it gets better. I've also asked each crew for their blocks and l freqs and have found intermod hits galore - then tuned around to avoid them. In a few cases I helped other crews find optimal freqs when their systems were intermod'ng their own units. (I know, they should figure that …
Last reply by graham, -
- 2 followers
- 10 replies
- 4.1k views
Just curious as to how we've all wired basketball players for in-game/training scenarios? Couldn't find any other forums covering this in the brief moment I searched the site. Thanks! Steve
Last reply by beartrax, -
- 12 replies
- 4.1k views
Evening all, I wrote up a little document outlining a procedure to sync pretty much any DSLR footage to production audio using the readout from any timecode slate. The nice part is we (Sound Guys), don't have to worry about sending or attaching any kind of device to the camera to do it. The tutorial is for Final Cut Pro users, though I'm sure Avid has a similar function. You read the timecode off the slate in the "Viewer" window and enter that timecode into the Aux 1 timecode box for that clip. You then do a "Merge" of the Video Clip to Production Audio and there you go. No muss for fuss with trying to send timecode or worry about levels. The main thing is the came…
Last reply by Actualsizeaudio, -
- 12 replies
- 4.1k views
To All, I've noticed a lot of posts with issues regarding the RED's audio workflows. The solutions to most of these problems are much simpler than one might think. I'm happy to answer any questions about frame rates, timecode, jamsync, bit depth, or any other questions/concerns. Coffey Sound has taken an avid interest in the RED's audio compatibilities. We will be checking this message board daily to answer your questions. Or you can reach me at Coffey Sound. Thanks, Jonny Coffey Sound, Llc (323) 876-7525
Last reply by RPSharman, -
- 28 replies
- 4.1k views
I was asked to work as a Location Sound Mixer for a reality show and they will be providing me with all the equipment. I have a question. There will be 8 wireless mics running into a mixer and then going recorded into a recorder. My question is do you think its fine to use a standard recorder such as a Zoom H4 or should I have them rent something else. Any thoughts? At this point I can't record to a computer or laptop so it has to be hardware pieces. I don't have a problem with mixing the audio and sending it to the recorder. But my concern is the audio getting all garbled up if one person is talking while the other is talking. Its a reality show so you know how things…
Last reply by chrisnewton, -
- 9 replies
- 4k views
Greetings I am about to step into the oddest inquiry a director has asked me up to now. I need to record a guide V.O. first thing in the morning, ramp up it's speed at 50 FPS and then hand it over to the actress to listen back for 3-4 hours in order to be able to lip sync ( with her lines of course ! ) at 50 FPS when we 'll film her scene. The scene to be filmed is a sequence which will be filmed native at 50 FPS and kept at 50 FPS. Her lines will be synched with a V.O. that cannot be the final one when we'll be filming her tomorrow. Just stepped out of the pre production meeting and had a thorough conversation with the director discussing about the fact that sound will …
Last reply by filmfreak, -
- 3 followers
- 18 replies
- 4k views
This is the 1st part in an ongoing weekly series looking at the audio post production workflow. We have enlisted the help of top end professionals in their respective fields to walk us through what they do and sharing some tips and tricks along the way. The series will be based on TV drama in the UK and these days takes a lot from the film workflow but also a lot of what applies is very similar in other genres all be it not on as big a scale. Part 1 - Assistant Editor, preping sessions Part 2 - Assistant Editor, preping sessions Part 3 - Dialog Editor, setting up dialog sessions Part 4 - Dialog Editor, preping for ADR and finishing the dialog edit Part…
Last reply by Philip Perkins, -
- 15 replies
- 3.9k views
Hi. I have a press conference coming up - and I'm still greenish. I'm thinking I'll take a signal out of a molt box, and run either hardwire to 552, and hard hop to camera, or go wireless from molt to RX/552. If no molt, I expect I'll just boom towards a stereo speaker. My questions are: 1. What is the typical signal out of a molt - line or mic? 2. If it is line out, does the volume in a wireless tx (smqv or um400) need to be dialed way down (do any of you start at a favorite level in this case)? 3. If there is no Molt box, should I go wireless to cam, to get closer to/boom the stereo speaker? 4. Finally, any other ankle-biters I should cons…
Last reply by JCC, -
- 15 replies
- 3.9k views
Hello, Embarking on a new movie, which will at times choose to shoot "HFR" (48 for 24) for a specific look. The DP doesn't want to involve post yet in the discussion (if ever). We agree no to change my frame rate, so he can go in and our of it without thinking too much about it. He is wondering what, if any, is the standard. 47.952fps or 48fps. Shooting Alexa. Robert
Last reply by BAB414, -
- 4 followers
- 26 replies
- 3.9k views
Hi, A low-budget doc I have been working on is going to try remote audio-only interviews. I've been tasked with suggesting some workflow solutions. I did check the site but didn't see anything; if I missed it I'd be glad to be pointed in the proper direction. I am currently thinking along two approaches. 1. Via the Internet - Basic guidelines provided to each interviewee to minimize "noise" in their environment. - Headphones that could be mailed to each interviewee, connected to their phone in order to hear the director's questions - A USB mic mailed to each interviewee that could be connected with some ease to their…
Last reply by Philip Perkins, -
- 10 replies
- 3.8k views
So far in my sound career I've learned to rely to moleskin, undercovers, and overcovers as the main mic buffering materials, but I was wondering if there are other similar materials people use out there? Sometimes because of the common curve-balls like chest hair, stubble, minimal warddrobe, things like that, I need a small and robust solution that combines the properties of both moleskin and the rycote products. I'm going to experiment with flannel to cut up into small pieces. Also, if I can somehow find the overcover material in a small sheet so I can cut it up as I please, though maybe with shorter hair so its less bulky... Cheers.
Last reply by berniebeaudry, -
- 32 replies
- 3.8k views
I have a film coming up and production wants to record on film and tape. I intend on using my analog mixer, take the direct outs and record the ISOs into my 788T, and send the mix to the Nagra, and back into the 788T. The idea being that everything is already there, even though the tape mix will have a delay, it'll have the slate, and the actual tape would have TC on it. I guess my question is this: should I record everything at 24fps, 23.976, or something funky like 48048? I know that normally we would ask post, however post has not been lined up yet, and likely will not until after we've shot the film. So if anyone has ever done something like t…
Last reply by Jay Rose, -
- 3 followers
- 31 replies
- 3.8k views
recent critiques of my Mix track have knocked me down. Asst. Editors and Editors noting that the off-camera is unusable, meaning they have to go to ISO tracks to do "more work". I'm providing very good dialogue for the on-camera, sometimes letting the off-camera lie on an Iso so I can focus on the "on-camera". These are not overlapping dialogue situations. When did putting all dialogue, on or off-camera became the norm for the Mix track? It makes they're job easier to cut picture in I suppose, but the Sound Mix is subject to phasing mics, missed on-camera cues(especially when mixing 5-7 mics at a time) and 2nd Boom Issues (reflections on-camera, introduction of camera noi…
Last reply by studiomprd,