The Post Place
the section for everything relating to Post-Production
350 topics in this forum
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- 3 replies
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Hello All, When doing a podcast recording in Adobe Audition CC, the volume and fidelity sounds different thru the headphones but the export sounds good. The set up is two condenser mics going thru a preamp, a compressor, to Audition, Headphones amp output. When talking and listening thru the headphones both mics sound good, but when the recording stops and do the playback one mic sounds good, and the other sound distant/faint. One mic is assign as a left channel and the other as a right channel merged into a stereo file in Audition. The mic with the faint/distant sound is the right channel one. But the export sounds good, no distant/faint. I al…
Last reply by Rick Reineke, -
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I jumped in to help a small non profit with their documentary program that had audio problems. Mostly it needed to have the audio balanced between two on camera talents shot outdoors while demonstrating with small animals. Each talent was mic'd separately, but I received a stereo audio track where one was left channel and the other on the right. The project was done in Adobe Premiere which cannot change stereo to mono once edited into the timeline. There are a lot of edits, so recutting it was going to be huge. I tried a round trip to Adobe Audition and it appears the problem is the same there. I'm told Pro tools can handle this easily, but I don't have it or know it. …
Last reply by Larry Watts, -
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- 858 views
This is going back in time a little. My friend has 4 DAT tapes that were recorded on a Fostex PD4 at 48kHz, 30 fps non drop. He wants them transferred to a digital computer file that he can edit. On the Audio side, I was planning on using my Fostex Pd4 to transfer from it's AES/EBU digital output via a 110 ohm xlr into my Sound Devices 664's digital input. The 664 would be set to 48kHz/ 24 bit. I would send the Fostex's playback time code into the time code input of the 664. My question is, will this work without me doing anything to alter the playback speed for the file to work when he sinks sound to picture in the computer. His super 16 film was transferred …
Last reply by FILMMIX, -
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- 3 replies
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Here's an interesting read I found in one of the Facebook groups. http://www.asoundeffect.com/creating-the-sound-of-cosmos-a-spacetime-odyssey/
Last reply by Marc Wielage, -
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Hello All, So I'm noticing a weird thing in EuControl when trying to create a layout and assign tracks to it for my S3? Let me preface by saying I run on Windows. I'm able to pull up EuControl from the S3 (Shift + Sel). EuControls Sees Protools (I have my session open with the track's I'd like to add in the Assign page). But in EuControl's Assign tab all channel strips (1-16) which are by default set to auto assigned, won't let me change them. If I click on the dropdown nothing happens! (I have display applications track numbers checked). Further, if I switch to the Layouts tab, it won't let me name my Layout. If…
Last reply by jgbsound, -
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Hiyas! It’s truly been a while since I posted anything here it seems.. Anyway, nowadays I work in radio and there's just a different approach to everything, basically. One thing is background noise for example. Journalists like to keep things realistic, and therefore there's not a lot of recording separate backgrounds to add on later. If they want bg noise in their speakers/VOs they just record them in the environment they want. Sometimes at least. Most (99,9%) of the time they don't want the noise. Anyway. The other day this guy had made a similar VO, recorded in the street. But he got some facts wrong and needed to replace a few words. So …
Last reply by Olle Sjostrom, -
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- 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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Not many applications import the cue points list from broadcast wave files, but if they did, what would you want to see? TASCAM HS-P82, etc automatically puts in mark points at the start of the data ("PRE" - for PreRoll start), at the instant the recording was started "REC", and an END point. Then if the user hits the Mark button, they get a MARK cue point. If the user hits the MARK button close to when the sticks are clapped, wouldn't that be useful in post-production? If so, you'd want to differentiate it from other Mark points, which might be short hand for "flubbed line here", "bad audio/plane overhead" etc. What about a "STIX" mark point? (We have a self …
Last reply by soundtrane, -
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I'm hoping someone can answer this question for me? I have an AVID S3 with the Pro Tools Dock/ipad combo for my studio setup at home. Usually, after creating a layout in EuControl, I can then just pressed the lefthand buttons on the S3 to call up my layouts. However, for some reason, now when i press the Layout number, the iPad Control App switches to the proper layout but the S3 does not change the Faders themselves (it's stuck on my DX only tracks. Is there a setting I accidentally set in EuControl Preferences that could have changed this? Scrtching my head.
Last reply by jgbsound, -
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A question for the gurus who know more than I. 1. A client sends me an OMF of a 30 second commercial and asks me to sweeten the audio and give him a mix. Not a problem....done this many times before. 2. He edited his mix in Premier and sent an OMF to me for audio work. I asked and received a reference video as well. I use ProTools. 3. One of his clips in the timeline was speeded up in Premier to account for some guy talking too slowly during filming. Nothing terrible and if he hadn't told me, I may not have known. 4. However...he included the original audio clip (sans video) and wanted me to use that audio instead of the one he speeded u…
Last reply by Mobilemike, -
- 1 follower
- 3 replies
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I did a project this last week and they started first day with no timecode sync. To compound the problem the camera was set to 24 FPS and sound was set to 23.97... Looking to address the frame rate issue only in this thread. Any quick/cheap fixes? Batch processing? Public domain audio file converters? Thanks
Last reply by jpb2, -
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Hi, I'm sound designer and want to present you my foley studio. We specialize in Foley recording for Film, TV series, animation, commercials, etc. Our team has 10 years of experience, so if you are interested - write me. You can see our studio, demo reel and contact information on my website http://www.foleywalkers.com/
Last reply by ArtemKWA, -
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Hey does anyone the basic rates of doing post - production for a feature film? like how much each person on the sound team typically gets paid?
Last reply by Henchman, -
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I've been searching for a software company that had a product with the name, amp or phone in it. At the time it was a mac based / protools program Effects editor. Anyone have a clue ? Thanks. Mike
Last reply by mpsanos, -
- 1 follower
- 3 replies
- 980 views
Is there anyway to strip a 6 discreet channel quicktime file of it's audio, so I am left with 6 mono files (these could be separate or poly)? I know this can be done within an NLE but I was wondering if Quicktime 7 has this capability or some other program that is not an NLE or DAW?
Last reply by Jay Rose, -
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Probably a bit OT here, but has anyone come across a Mac app that works with quicktime video files similar to the way Wave Agent creates sound reports from a folder of BWAVs? I'd like to dump a folder of h.264 Quicktime .mov files in it and end up with a list of the file names, and at least the timecode in and out points from the quicktime TC track - preferably in .csv format. Cheers, nick.
Last reply by Celac, -
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Hey does anyone else have an AVID S3 controller board? The 16th fader just malfunctioned and just pegs the fader at +12 (you actually hear a thunk when it does it). Has anyone else experienced this? What's so annoying is that the board is less than 2 years old. I tried resetting EuControl but to no avail. I also powered off the machine and rebooted my system thinking that perhaps the driver was being wonky. After a bit, you can hear the motor in the fader buzz just a bit, then the fader pegs back up to +12 again Thanks!
Last reply by jgbsound, -
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These look interesting. And the first displays a good attitude and approach (as you might expect from the guy making the tutorials). Largely about using Reaper along with Pro Tools. Anyone here watched some of these? Any thoughts? I learned about these here: ----- http://designingsound.org/2016/07/reaper-tutorial-series-an-interview-with-david-farmer/ Reaper Tutorial Series – An Interview with David Farmer [snip] DF: There were lots of great tutorials already online for Reaper, and they were incredibly helpful. However I couldn’t find any that directly helped a Pro Tools user trying Reaper for the first time. The information I needed was sp…
Last reply by Jim Feeley, -
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- 448 views
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
- 3 replies
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Does anyone know if there's an option in Premiere to view poly file metadata, most importantly, track names? I I spent half of yesterday doing a bunch of scouring on the interwebs trying to help out an editor that isn't familiar with poly files (because I'm a nice guy) and it looks like there is not.... I have FCP and the track names that I add in to my SD 633 are plain as day. See screenshot below: Thanks!
Last reply by IronFilm, -
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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when mixing what are the audio levels of delivering, - 23 LUFS (Dolby scale 7) is for dialogue? or for the whole mix included effects and music? and or what are the levels normally adopted for feature film and or short movies, indies and docu, for dialogues, music and effects?
Last reply by Philip Perkins, -
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- 1.4k views
Im looking to purchase a used sound device 552 mixer. I'm trying to upgrade my current recording equipment and be more professional.
Last reply by Tom Maloney, -
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Here's a little article I wrote for postPerspective.com (view from a computer to use the flash widget) with a flash widget about the different aspects of sound design. Would love to know your thoughts, and also how I could improve it. http://postperspective.com/subtle-sounds-diary-sound-designer/
Last reply by cory, -
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- 1.5k views
Hi, I accidentally managed to record a whole day's shoot with my Nomad set on frame rate 30, while the picture is 25. Now post is reporting problems with it, I don't know if it's an assistant or not, but somehow I assumed they would know how to deal with it and it seems they don't. What's the easiest way/software to change the frame rate on the TC? Apparently they're using Final Cut Pro. Thanks!
Last reply by Simon Hayter,
