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The Post Place
the section for everything relating to Post-Production
350 topics in this forum
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Pro Tools 11 1 2 3 4 7
by Tom Visser- 1 follower
- 155 replies
- 11.7k views
Word in the street is PT11 at NAB. 64 bit, adds the ability to read additional video codecs including DNxHD and video editing abilities.
Last reply by pindrop, -
- 1 follower
- 94 replies
- 12.1k views
I saw the other thread, yes, but I think this is the more appropriate place to put this. There are few different ways you need to mix audio for post depending on the medium and destination you will be outputting to. For TV, you will be provided a spec sheet of what you output peaks should be maxed at. For commercials, usually it is based on a maximum LEQ, but I think that has changed of recently (haven't done post on a commercial in while.) film and theater release is a whole different animal. There is no "standard" peak level. When doing post audio for theater release the most important thing is to have a properly calibrated system. the proper cali…
Last reply by cinetj, -
- 1 follower
- 88 replies
- 9.5k views
What do you all recommend as a basic post-sound setup for handling simpler media projects? I primarily work as a production sound mixer, but I'd like to add sweetening and some sound design to my services when I help out student filmmakers or do web content. And I also just want to learn more about the process, and would prefer to stick with a DAW like ProTools since it seems to be such an industry standard. Bare in mind that I do not have a studio and was planning to do this work from home with my 15" MacBook Pro (Mac OS X version 10.7.4; 2.4 GHz Intel Core i5; 4GB 1333 MHz DDR3 memory), a good set of headphones, and a zoom h4n for recording ambience and effects. …
Last reply by Winter, -
- 6 followers
- 80 replies
- 23.5k views
I am in the market for some new sound fx libraries and would love to hear from everyone what your favorite or go to libraries are. They can any type and any size, just which library you use the most and why.
Last reply by soundmanjohn, -
- 1 follower
- 70 replies
- 12k views
Announced on the 26th. I'm pretty impress with the amount of flexibility we're getting these days. Announced that it will lower the reverb in mono or stereo /track/mixes. I've downloaded the free trial. http://www.zynaptiq.com/unveil/
Last reply by Jay Rose, -
How often do you (the location sound recordist) find that production asks you about sound design/mix? 1 2 3
by cory- 1 follower
- 66 replies
- 6.7k views
I always enjoy doing sound design and mix for a movie that either I, or a friend of mine, has done the location sound for-- I know how things were recorded, what bumps to expect, where to look for good wild sound/tone, etc. However, unless the project is a narrative and I have a relatively close relationship with the director, I usually find that the post goes elsewhere for one reason or another. Any advice?
Last reply by Ernesto Figge, -
- 58 replies
- 6.5k views
I hear a lot of people complaining about having to wait for a bounce, here is a tip. Instead of real time bouncing, record your master to an audio track. If you make a change, you can just destructive record the change, then you don't have to bounce again. When you are done, just export the audio file on the track with the settings you want. I have been doing this for several years with no complaints.
Last reply by Marc Wielage, -
- 57 replies
- 6.7k views
I'm one week into a three week dialogue edit on a feature and it's a very interesting view being on the other side of production (I've done foley and sound effects recording/editing in post, but this is my first real dia edit). Nothing quite exposes every minute error in production like dialogue editing. I'm sure most of the more experienced sound mixers already are aware of these things, but it might be an interesting eye opener for newcomers into the production sound world to sit in on a dialogue edit.
Last reply by mattiasnyc, -
- 2 followers
- 51 replies
- 5.4k views
Hey, This is a repost of a topic from the General Discussion section of the site. I was wanting a take on this from a post engineer's perspective. I have been on more than one shoot for a commercial recently where a particular AD in town has refused to get room tone at the end of the shoot day saying it is because, "Everyone would kill her if we stop for that at the end of the day." This after I asked for it earlier in the day. Admittedly, this translates to either, "I want to go home and don't care," or "I have absolutely no control of my set". But, this brings up the topic, how often do you get room tone from set? Do you ever get it on 30 second comme…
Last reply by VM, -
- 1 follower
- 50 replies
- 4.5k views
Hey all, Still asking sound editing questions. Izotope generally works pretty well when the camera's farther away. But sometimes, especially in "close ups" (tight shots in tight spaces, so not telephoto), the red noise is quite loud. Izotope cannot really eliminate it. But the issue is really that it's present in the closeups but not in the wide shot. What should I do? Fill in red noise in the wide shot? I tried using Izotope in "multiple passes", but I don't think I know how this works. I just seem to add more artifacts. Are you supposed to do a new profile after you've reduced or keep reducing using the original profile. Also, is there a way to save noise…
Last reply by studiomprd, -
iZotope RX3 1 2
by Karri- 1 follower
- 49 replies
- 8.5k views
So the new RX is out. For RX2 users, iZotope has a pretty sweet upgrade deal, from RX2 standard was around $150? for RX3 standard and $499 for RX3 Advanced. I went the advanced route this time, mostly for the deverb function. I only had a little time to play with it before leaving for a shooting trip for the rest of the week, but the two new modules, the deverb and the realtime dialogue denoiser seem like solid tools.
Last reply by Philip Perkins, -
- 46 replies
- 5.7k views
Matthias asked this question elsewhere, and I thought it was a complex enough topic that it deserved its own separate answer. I have dealt with this before in post, literally with neophyte studio execs who go crazy when they can't hear off-camera dialog to "put the scene in context" (quote/unquote). In post situations, I'll tell them, "hey, don't worry -- you're covered on about 19 takes of a close-up of the other person," but they're still a little rattled. In TV, what I've generally seen is that they'll make an attempt to at least get the off-camera actor on a wire, then get the on-screen actor on a boom. It's a good question as to which piece of dialog gets i…
Last reply by taylormadeaudio, -
- 46 replies
- 4.4k views
I did the sound for this short film shot on 16mm running at 24 fps. I set my recorder at 48KHz and 24 (apart from the first few shots, where it was left at 25 by mistake) there was no tc jamming, a clapperboard was used for all shots. Now a few months later I am told they can't sync none of the audio. It has already been transferred to beta and then to digital for Avid mxf. No syncing done at any of those stages. Now if I understand correctly the material is at 25 fps? I didn't even get a clear answer Is the audio to blame here? I know that there should have been guidelines by post as to audio framerate settings but there weren't. Just wondering what I can do…
Last reply by Marc Wielage, -
- 5 followers
- 45 replies
- 6.3k views
Hi everybody, the dialogue editor which is working in a movie I recorded using the Schoeps SCMIT (Output 1, Preset 1 non aggressive one) told me that it's impossible to phase it to wireless mics (Zaxcom + DPA4071). Has anybody else noticed same issues? I'm asking cause I'm trying to figure out if I got to service it. Thanx, Angelo.
Last reply by RadoStefanov, -
- 45 replies
- 3.2k views
Video editor looking to do a passable cleanup on an audio track only for the purpose of handing in a rough. They gave me horrible audio, with noise and the mic was probably laying on the ground in a corner, def not where it was supposed to be. I'll launch Protools and see if I can give myself a refresher. Bad audio is bad audio, but I wanted to see if anyone can recommend a plug-in or two that I should focus my time on as I dig around in there to try to give it a little bump. Not looking to take up too much of anyone's time, would appreciate any recommendations on a plug-in I should try. Please be polite. I don't have time to search the boards here to try t…
Last reply by Marc Wielage, -
Boom mixed with lav? Or just lav. From John Purcell's Dialogue Editing for Motion Pictures 1 2
by rb1138- 43 replies
- 18k views
Hey all, I just read John Purcell's book Dialogue Editing for Motion Pictures. I thought it was pretty solid. Good stuff. However, there was one thing he said that I thought was strange, only because I've heard differently elsewhere. He seemed to say to cut out all off-axis except for the primary microphone you choose. Use only "one track of room tone" at a time. This seems to indicate that you should eliminate boom mikes altogether if the signal to noise for the scene requires it. However! I've often heard you're supposed to mix them together for a more realistic representation. Also, isn't this how production mixers create their mixes? By mixing boom…
Last reply by Marc Wielage, -
- 1 follower
- 43 replies
- 6k views
Hey guys, So, I'm on day 14/15 on this Indy feature that we've been shooting on the Canon C300. Apparently, there was a miss-communication with me and the camera department on the first day, and this whole time we've been recording 24p video while I have been using 23.97 for my Nomad-6. Simple set up with a dumbslate, the editors assistant said that doing the typical ".1%" speed up is not doing the trick to fix the drifting of the sound sync. Editing is being done in FCP. Has anyone figured out tips or tricks for working with this? Plug ins, programs, ect? Thank you very much, -W
Last reply by Jack Norflus, -
Stereo Mix 1 2
by Den Nic- 1 follower
- 40 replies
- 5.9k views
Hey Guys, Just wondering, for those who are doing a stereo mix of booms/wireless and recording those two tracks, how often are those the tracks that post goes to? Do they use the stereo mix for the most part unless they need something specific? Or is the stereo mix just a guide for post production (And for IFBs) these days? Thanks!
Last reply by VASI, -
- 1 follower
- 40 replies
- 6.9k views
http://youtu.be/3hW9lvCcVwE With conform application inside
Last reply by ramallo, -
- 39 replies
- 4.3k views
Hello there, I currently work a full time job creating 5 M&E tracks a week. (1 a day) for a Soap Opera. I am assuming that what i earn is not much and i rather not say. Yet i do wonder how much everyone else earns because when I leave i want to let them know an estimate of what others earn in this side of post. Ambient, Footsteps, hard effects, foley, etc and final mix are all elements that take time and effort. I will say that my starting hourly rate is the the highest they stop paying the person before me after 3 years of being employed. Any feedback is greatly appreciated. Sent from my iPhone using Tapatalk
Last reply by mbois, -
- 36 replies
- 10.4k views
Does anyone have a standard workflow they use when equalizing a thinner lav feed to the more robust boom? I'm assuming you probably use the spectral analysis in protools coupled with an eq. There used to be a bias app called repliQ that did an awesome job but they're outta business. It seems rather clunky to do it just by ear and I'm assuming those who have more experience know exactly what to do. Any suggestions? jgbsound
Last reply by Micah Loken, -
Should recording an Impulse Response during production be as standard as recording room tone? 1 2
by SBretzke- 1 follower
- 36 replies
- 5.8k views
As convolution reverbs become increasingly common and affordable, it seems this is where the future of post-sound mixing lies. With that in mind, should production sound mixers be integrating IR recording into their workflow? How many prod. sound mixers out there have already integrated impulse response recording into their workflow on-location, or have ever done it at all? How many post-prod. sound mixers out there wish there were more PSM's doing this? Do you use convolution reverb? Would you use it more if more recordings were provided? From what I've read around the web, it seems like convolution reverb is mostly just being used as …
Last reply by tom williams, -
- 35 replies
- 3.7k views
I'm working on a film shot in the absolute style of a spaghetti western. (No sound was recorded on set) We are doing ADR and foley for the the entire film. I've been trying to read up on the sound for those films without any real success. I've been looking for ways and just trying to see if anyone can offer advice on making it sound as "Gritty" as films of that era.
Last reply by Jay Rose, -
- 1 follower
- 35 replies
- 5.9k views
Hello everybody, So the time has come to upgrade my studio (I have the Yamaha HS series monitors set up in a 5.1 config) and my budget is about 1k a speaker. I've been listening to the Dynaudio BM6 MK III's and they seem pretty solid. They appear to have a pretty flat frequency response. These, paired with the BM14S II 12"Subwoofer, I'm thinking this would be a pretty good mixing environment. While, others are mixing on Genelecs, and still others, I see, are using the Focal 6B series monitors, et all, the BM6 MK IIIs appear to be decent performers (I really can't afford the Dynaudio AIR series which have the sculptable EQ for each speaker which is pretty friggin' …
Last reply by Sprotnik, -
- 3 followers
- 34 replies
- 7k views
Hey guys, I'm a young guy who is just starting out in this industry and I am currently doing lots of free work. At the moment, I am doing everything from location recordings to the final mixes for short films. I have just finished the final mix for a short film with a client (i'm working for free), which they were very pleased and impressed with. This client is an older gent who is trying to launch his career as an actor through the submission of the short film I worked on into countless film festivals. He has many connections with very respectable and well known people in the industry, which is quite intimidating (but has the possibility of opening up the opportunit…
Last reply by John Lundsten,
