The Post Place
the section for everything relating to Post-Production
352 topics in this forum
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- 0 replies
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Do people use any cloud services these days for clip gain / levelling ? and other repetitive stuff For some podcasts I've been using Auphonic over sending the clips to iZotope or Pro Tools local route I imagine a lot of these desktop apps are going to disappear and everything's gonna be a subscription 😬
Last reply by MissFm, -
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- 2 replies
- 212 views
I'm having issues syncing audio and video in Premiere Pro that was jammed with a Deity Timecode box. On set everything seemed fine. The recorder was a Mixpre 6ii and camera was Alexa Mini LF. Any advice would be great beyond the Deity tutorial information!
Last reply by Bouke, -
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- 22 replies
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Howdy everyone, Soooo, I'm still working on that WWII movie and am pretty close to completing. however, I just hit a scene with some extreme closeups and I can hear the camera's motor/film sound pretty well. I seem to remember back in film school they used a blimp/barney to dampen the sound but I'm pretty sure they didn't use one on the shoot. I've created (more like hacked together) some Room Tone so I can cut in and out between dialog bits, but it feels clunky. Then I got thinking about it more and was wondering what the big post guys do when they want to remove the camera's mechanical sound? Short of ADR which I suspect the director would probably no…
Last reply by Jesse Flaitz, -
Hey all, Just finishing up a project working with presumably 1/4" / reel archival Ram Dass recordings. The recordings are from over the years (but all very old), so: different tape machines, microphones, environments and subsequent reflections, and varying degree of ambient crowd noise. Overall I've gotten great results except for one in which the tape speed was unacceptably sped-up and therefore high-pitched. Using pitch and time correction of 92% I have RD back in his register, but with the slowdown, now he sounds gravely (or as the client keeps saying--robotic). I have done everything I know possible with EQ & comp / limt. etc, as well as trying ev…
Last reply by Daniellow, -
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- 3 followers
- 3 replies
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It's 2024 and I can't revive any of our old DA-88 machines that sat in storage since 2000. Our engineering department no longer works on tape machines so I'm out of luck there. I have some tapes that need digitizing but I can't decide where to send them for digitizing. Any recommendations? Thanks.
Last reply by Werner Althaus, -
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Hey all😄, I am working on an indie film project as the Sound Editor and re-recording mixer. It's a dramedy with all original music including some punk, choir, and classical music. This is my first time mixing in surround. I've spoken to the composer about receiving a Pro Tools session of mixed stems when I was originally mixing in stereo but the added surround element is confusing me. I was wondering about the deliverables I should ask from the composer so that I have leg room to adjust the panning of instruments and reverb panning of their mix. Should I ask the composer to only use 5.1 plugins? Should I ask them to pre-mix the choir or classical music as they …
Last reply by Philip Perkins, -
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- 4 replies
- 397 views
Does anyone use a thumb trackball mouse doing audio post that you might recommend that works with Monterey and above? I recently upgraded and seem to have lost my precision movements on the track ball with the Kensington version that I have. I have a feeling they’re software for Apple might be finicky on this operating system
Last reply by codyman, -
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- 12 replies
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Curious if someone might help me understand the pro's n con's of OMF vs AAF imports in pro tools. I have been using OMF for ever out of habit. Always encapsulated to keep things organized, and it would work perfect for my purposes except for a few occasions where the material is larger size and I would request separated - but this made things slightly difficult where I would have to manually connect the data which was a bit time consuming but worked in the end. Recently an editor I have been working with was sending me AAF's. Worked extremely well although contained a video track that would give me problems but I would just skip it on import and bring in video manually wh…
Last reply by Philip Perkins, -
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It seems current versions of PT '21 work under Rosetta 2. But I can't find any info with regard to Izotope under Rosetta 2 on an M1 mini other than "not compatible with M1..." Is anyone using this combo?
Last reply by D Clay Audio, -
- 2 followers
- 21 replies
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Hi y'all! So I left the movies for radio, but still I keep using wireless mics and recording stuff outside, as if it were a movie shoot (but without the cameras). And in post, I still use the same tricks. However, I stumbled upon this little plugin called Goyo, which is a noise and reverb reducing plugin using AI in some sense. GOYO Voice Separator | De-noise, De-Reverb, De-Voice - All in One Plugin Quick review: It does what it says. I hear artifacts if I crank it hard enough. It's great to be able to just turn the BG down a tad, and then I can hardly hear the artifacts. Especially not if I'm imagining sitting in a car or listening in headphones on the subw…
Last reply by osa, -
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- 3 replies
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This seems like an old problem because I found discussions about it on DUC but I was unable to find an actual solution, curious if I’m missing it somewhere. Files I record on my Zaxcom nova, I bring into ProTools and spot to original Timestamp. Make a few modifications and export. When I bring the original file and pro tools exported file into wave agent, The timecode is offset by a small amount between original vs newer pro tools export in a few seconds/frames. Is there a newer solution possibly to exporting accurately time stamped files in pro tools that i may have missed somewhere?
Last reply by osa, -
- 1 follower
- 8 replies
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Hi, More and more colleagues sound recordists are using LCR stereo setup nowadays for wide ambient wild recordings, and many post-prod sound editor and re-mixer say that without the C they feel an "hole" in the middle. Being an ORTF setup (LR) long time fanatic I often argue that it depends how you choose to record the space you want to hear. I have tried it several times but always ended up listening to LR only as -mixed in a LR hearphone- wide spaces sound mushier. I found the C useful for proximity stereo recordings but for wide ambient I do not see the point. I know it is still an ongoing debate. What are your opinion on it, location sound or post-prod …
Last reply by Rick Reineke, -
Hey guys, I'm exporting an XML from Resolve 17 in order to work on it in Audition 2022. Wondering if I'm doing the right workflow or there is a solution to this. Our editor synced the camera to the audio files via timecode in Resolve. So when he drags and drops the camera footage, the audio comes with it. But the audio in the time also gains the same name as the camera footage. So the audio file "Interview_A_01" is now named "A001C014" etc. So Audition is just reading audio track A001C014 which doesn't exist and shows up as a blank wave form. This is done for every single clip on an already edited 5 minute video. What are my options to remedy this…
Last reply by Thomas Farmer, -
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Hello All, I am attempting to encode a 5.1 source track into a 5.1 AC3 surround matrix using Neyrinck's Dolby Digital 2 plugin in Protools. I am creating a blu-ray for festival submissions. I seem to have everything in the right place (I've tested it in Dolby Digital 2's preview and all the correct channels are playing back in the assigned channel). However, when I take it over to my home theater system which is 7.1, I've noticed that the surround channels (Ls/Rs) are playing out of the mid-room surrounds and NOT the back speakers as would just a 5.1 configuration. When I play a consumer surround disk, they seem to play back properly, just…
Last reply by Daniellow, -
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I have a director friend looking for a place in the states that does foreign language dubbing of movies, particularly french in this case. I thought someone here might know of a place or two. Thank you, Tom Backus CAS
Last reply by dr.sound, -
- 1 follower
- 8 replies
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Hi, I'm looking for a laptop with Windows for DAW (Nuendo). Min. 16gbRAM(better 32), 1T storage and 15"-16" display. If I look at the CPU parameters, the 12700H seems good to me. But essential for working with sound are quiet fans. Can you please advise me of a suitable and above all quiet laptop? Do you have experience with Dell 7620 16 plus - Inspiron? Thank,you
Last reply by mano, -
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Hey Guys, I'm increasingly being asked by one of my clients for delivering a 2.1 stereo mix, but also with separate stems for dialogue and music/effects... How normal is this? And anyone know why they might want it? For me I find it a right pain tbh! Any thoughts? Thanks
Last reply by chrisbakeruk, -
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- 8 replies
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I will post this in a more appropriate forum but was curious if someone here might have come across this. Been working with OMF's and pro tools quite a long time but first time running into this error shown below. same client I have worked with before never any issues. I have them sending me an OMF separated vs encapsulated because it is over a 2gb OMF and I read somewhere the size larger than 2gb encapsulated might trigger this error? But other posts on this topic didnt seam to generate solutions, other than size. I went thru all my recent omf's and all show up in pro tools as Version type 2.0. I have at least 1x OMF that is 2.16gb and it opened fine opening as file type…
Last reply by osa, -
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I recorded multiple lavs to separate tracks in my zoom f6 and mixed them for broadcast in my DAW to a (dual)mono track. When I perform a quality check for my video I get some alerts: "Phase difference between Left Channel and Right Channel found beginning at 00:00:00:00 for 84.00 seconds with max phase difference value lying between 10 DEGREE to 20" The phase difference is always less then 20 degrees in those alerts. Is this an issue and do I have to adress it? When mixing on location to a single track phasing can occur as well and cannot be corrected in post, so I guess it should be find. Does it?
Last reply by The Documentary Sound Guy, -
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Hi, being on the budget and looking for a portable device I'm willing to buy a zoom h3-vr, it have the feature to create a file ready for 5.1 post production. I'm not interested in VR at the moment. All I need from the recorder is to take advantage of portability (store in my pocket even if maybe a bit bulky for my needs) to create a surround database of soundscapes to use for theatre short movies, documentaries. I often have been in places where I wanted to record by I couldn't take with me the full equipment. do you think it's a good idea? Did you ever tested those files you can tell me more about usability for theatres? this is a quick official video ta…
Last reply by Dan Wake, -
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- 4 replies
- 980 views
This concept of upmixing is still something i am trying to completely wrap my head around, but all of sites i am reading and seeing demos of halo upmix etc seem to be referring to upmixing stereo music mixes. Do the same principles apply to stereo ambience field recordings when it comes to upmixing stereo material into multichannel projects?
Last reply by TVPostSound, -
- 2 replies
- 525 views
For those that use them, how are you guys sourcing your multichannel ambiences, atmospheres and room tones? Do you build them from stereo recordings or do you use original multichannel recordings that match the target format?
Last reply by TVPostSound, -
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Hello, I need to export a Pro Res quicktime with 5.1 and 2.0 mixes from Premiere. More precisely 8 channels of audio, the first 6 being the 5.1 mix, and the last 2 being the LT/RT. Premiere has a few different options to do this and I'm trying to figure out which is correct: Option 1 - settings In the image above, one can select either "mono" or "discrete" for the channel layout, which one should I select? A quick export with both settings and a get info on each quicktime file shows the following Mono Selected Discrete selected Option 2 - set…
Last reply by Brian William, -
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- 1 follower
- 2 replies
- 645 views
So I’m being requested from dailies to work in pull up 48.048 / 24fps since the DP wants to shoot @ true 24fps to reduce the possibility of flicker with lighting set ups. We are not shooting on film and footage will be pulled down 1% along with sound to be edited and broadcasted at 23.98. The dailies company said this is somehow common with Canadian DP’s who feel this is a solution to mitigate flicker issues. So, The dailies company wants to modify my sound rolls and sample rate convert my Cantar X3 files back down with SD’s Wave agent before hitting editorial to get it all back down to 23.976 and assures me it will be seamless and not affect sound. What’s odd to me is …
Last reply by MMS Inc, -
- 1 follower
- 7 replies
- 869 views
I am working on a radio play and per clients request i made videos that are audio only with timecode window burns of all the production sound we recorded. I used davinci resolve and able to get thru it enough to be dangerous, and these were all large takes so not to terrible to do for this project ( a few large takes vs a bunch of short takes), but i was curious if there was another way to approach this to make video window burns of audio only? -Ken
Last reply by Bouke,
