The Post Place
the section for everything relating to Post-Production
350 topics in this forum
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- 21 replies
- 6k views
I am currently cautiously looking at increasing my post capabilities and the thought occurred to me to bone up my DAW controller. I currently use an Alesis MasterControl at home. For the price, it is quite nice and feels like a solid piece of kit. Generally, for ADR and mixing, we'll either be at the main studio or on set. At the studio, we have an SSL4000E/G, a great console, but of course not a control surface. What I find that I do, if I need to do any type of moderate or major editing, I do that all at home, and then bring in the client for a final attended mix at the studio at which point I'm just mixing stems together for the final client approved print. We're…
Last reply by Tom Visser, -
- 1 follower
- 21 replies
- 6k views
Final Cut Pro 7.x shows Scene, Take, Timecode Start and other metadata information from BWAV files, but not the track names. Is there a way to get it to do this? I've had editors ask me about this and I can't see track name information anywhere in the software. Mark
Last reply by Philip Perkins, -
- 2 followers
- 21 replies
- 7k views
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, -
- 2 followers
- 21 replies
- 9.7k views
Remember that Blackmagic Design bought (at least part of) Fairlight last year? So now in Resolve 14, they've rolled at least some of Fairlight's audio tools into Resolve 14. Here's one picture from BMD's website: Details and more pix: https://www.blackmagicdesign.com/products/davinciresolve/fairlight And BMD says they will offer four mixing consoles. Here's a smaller one: A little more info (and a few more pix) on those here: https://www.blackmagicdesign.com/products/davinciresolve So the Resolve 14 software is in a public beta right now. There's a free version with "Revolutionary new tools for editing, color correction and professi…
Last reply by Jim Feeley, -
- 2 followers
- 20 replies
- 2.6k views
I have a friend that I'm working with next week shooting on a 5d mk3 doing double system. When we import my audio, recorded on a 633 at 0db, he has severely low levels in Adobe. Any clues?
Last reply by Rick Reineke, -
- 1 follower
- 19 replies
- 3.8k views
I'm trying to flesh out my ensemble of post mixing software(s) to create as professional a final mix as possible. The list I use so far is okay but there is something obviously missing. Do you guys have other suggestions that you know are used by the big post studios to create smooth beautiful mixes? I'm pretty good at dialog editing, music arranging and fx editing but the re-recording for final mix has always been problematic. Here's what I have been using: Altiverb Protools Video Production Toolkit Bias' Repli-Q (and the Master collection's EQs) Sound Soap Pro 2.x
Last reply by jgbsound, -
- 2 followers
- 19 replies
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I'm looking for input on SFX/Music library software. Over the years I've created and collected thousands of sounds and composed over a hundred musical clips I'd like to collect and organize into a useable library. I've been trying out commercial solutions like Soundminer (currently trying the Mac HD demo) and Audiofinder (wow world's shortest demo) but have been dismayed by the software so far and am wondering what others use? For example, my time with SoundMiner has been abysmal. It seems that the basic HD product is nothing more than simple library utility. I can't collect sounds within the program and it has barely (if) any metadata editing capabilities. …
Last reply by Stef Albertyn, -
- 18 replies
- 3.5k views
So I have a project coming up in a few months (probably more like 6), that will require at least a 5.1 surround mix. I have Protools 10 native with the Complete Production Toolkit unlocked. I want to be able to encode the data stream for a blu ray and for a DVD as well. I see a bunch of encoders such as DTS encoder, Neyrinck Soundcode for DTS, Neyrinck Soundcode for Dolby E, etc. Bear in mind I know very little about the plugin I need to select (I have only done limited surround mixing in my past. Thanks for any suggestions you can give me.
Last reply by jgbsound, -
- 18 replies
- 4.1k views
Hi! I am happy to have found this forum! I have to sync my 50p footage for television to an audio recorder. timecode can only be provided to the camera Via mini jack audio LTC port. As the LTC protocol only allows frame rates up to 30p I can only select 25p in the ultrasync one timecode box. The software then has to interpret this timecode and calculate the timecode for my 50p video. I couldn't do this in avid or davinci resolve, does anyone know a way? I think tentacle sync studio can do exactly this but I don't own it and it is a rather complicated workflow. Does anyone know how to do it in an NLE? especially avid or dr?
Last reply by Sound, -
- 2 followers
- 18 replies
- 2.5k views
So apparently my system's upgrade and support renewal didn't go through in September. Never received an email or anything about the card being declined. I'm just now finding out about this 6 months later when I opened an old mix project to re-mix it into another format and the pro-expander/compressor wouldn't load.. Now AVID says because I didn't update in a timely fashion (wihtin 30 days) I have to pay the full price for reinstatement (an extra 500 bucks). You'd think they'd have some customer loyalty since I've been using their software since PT7. Beware corporate greed. Disgraceful.
Last reply by Brian Liston, -
- 18 replies
- 4.1k views
Hi everyone, I was approached with a dialogue editing gig, but they are strictly Adobe CS workflow. As a Pro Tools guy, would I run into any learning curves while using Audition? Just in case, could it still accept omf outputs from Final Cut? Thanks Matt
Last reply by Philip Perkins, -
- 18 replies
- 3.2k views
I don't want to divert the discussion in the other speaker thread, so... My son is heading off to college in the fall and he plans on majoring in music (probably a mix of jazz performance and some sort of composing). He'll be living in a dorm with limited personal space... we're looking for some decent speakers/monitors for recreational listening and perhaps working through some of his homework. He'll probably rely on headphones for careful listening (no problem; there are plenty of those around here). But we're not sure what to look at or buy for speakers. NFMs I have down...cheaper and smaller speakers, I'm not so sure... We'd like something powered, compact (not much…
Last reply by gpiegari, -
- 17 replies
- 2.8k views
Has anyone here had to deliver for Nat Geo? I just had a show sent back even though we delivered to their specs. Their reason was "low audio levels," which I have never seen as a complaint in 20 years of mixing for television. Usually it's the other way around!
Last reply by Marc Wielage, -
- 1 follower
- 17 replies
- 3.5k views
In the context where I work, the video editors send us a finished episode to work with. Then, the audio team will do the backgrounds, foley, dialogs, music, etc, and when the final mix is done, the episode is sent for review to the director, producers, and a group of people who will ask for changes in audio, and video. After the editor receives those requests, he will do all the video adjustments and send us back a new video and an .omf with a reference track to cut and assemble the Pro Tools session according to this new version. Now, here comes the problem: The changes made by the editor include opening space for new scenes and shots that were not in the pre…
Last reply by Mark Orusa, -
- 1 follower
- 17 replies
- 1.9k views
So I've been working on a feature that had been print locked for a while now, and they decided to cut one entire scene (let's call this SceneA) and then, move another scene (SceneB from a different location to plug the hole where Scene A was. I asked for the In/out points on the timeline and the order (sequence) in which they made these moves. I'm assuming the timeline (frames) will shift when they delete Scene A, and again, when they Cut and move Scene B, so the exact IO points will be necessary in order to replicate what they did. Does anyone have any experience with this sort of thing? Ideally I'd like PT10 to behave more like a non-linear editor -- in mar…
Last reply by franky03, -
- 16 replies
- 1.3k views
Just wondering, if I upgrade from Protools 8 to Protools10 in the middle of a project, will I be able to import that project into Protools 10 and finish it there? It is a thirty+ minute film with a video track and lots of audio tracks. I have most of the dialogue edit completed but have everything else to do yet. Is this possible? Is it a good or bad idea? Thanks Bob
Last reply by Marc Wielage, -
- 16 replies
- 6.5k views
Hi guys, I have an editor I work with often, he wants to be able to playback 5.1 mixes, I suggested pro tools with dv toolkit, but he is looking for a cheaper solution, since it's only for playback. Any ideas, I know you can get pci cards for 5.1, but gave no experience with these...any ideas or experiences?
Last reply by Ashok Vardhan, -
- 16 replies
- 2.5k views
I'm curious as to how much of our location extras (wild tracks, AMBs etc.) actually get used. When I'm working post we usually get the OMFs and spot/edit accordingly. It's not always easy to get the production sound files and even if I did, I wouldn't know what is what without also getting a copy of a production sound report (which I never have). I'm sure it's different on big budget projects, but it seems very rare to see a full AMB track in an OMF, and only a few added FX stuff that often doesn't sound like it's from location. This is just based from my very-ultra low budget experience, I'm just wondering if more professional projects incorporate more production…
Last reply by deanmc, -
- 16 replies
- 2k views
Here's a bit of a dumb question regarding post sync. The editor for an upcoming shoot refuses to sync audio in post by TC, saying it's "too much work", instead he asks for audio to be cabled or sent by wireless direct to cam. I've never sat in post when they synced but always thought it's like one click to sync audio and video files by TC. Have I been wrong on this? Do they have to sync audio and video for each take or can it be done for batches of files?
Last reply by Christian Spaeth, -
- 16 replies
- 2.4k views
I record dialogue all the time but I have never recorded music before and don't really know the first thing about it. As a hobby, I'm going to be recording some music I've written for an album. While it's strictly a hobby, I do want to end up with something that sounds at least semi-professional. I won't need to record more than 2 sources at a time, so I was looking at the Focusrite Scarlett 2i4. Does anyone know if the preamps and A/D converter will help me achieve "(semi)-pro" quality recordings? Can I plug an electric guitar straight in and "amplify" it digitally in the computer/interface? I was looking into something like the SD USBPre or MixPre-D because of their…
Last reply by Ze Frias, -
- 16 replies
- 2.4k views
Wondering if anyone has any input of the Waves products offered for post work, compared to iZotopes RX5. Thanks for your time in advance.
Last reply by Johnny Karlsson, -
- 1 follower
- 16 replies
- 3.6k views
Howdy Gents, So I have a new shiny S3 console and am re-calibrating my speakers for film reference? (85 C spl). So I mapped 6 tracks in ProTools to discreet channels for the 5.1 field and inserted Pro Tools tone generator, set it to pink noise to start the process. By default, the tone generator sets the tone level to -20db (for headroom?). But if I truly want to work at the 85db reference level, shouldn't I set the tone generator to 0? By doing this wouldn't that more accurately reflect the meximum 85spl I need to dial my monitors to? Am I thinking about this the wrong way? Thanks for any guidance you can give me! John
Last reply by minister, -
- 16 replies
- 2.6k views
" A pair of associate professors and a graduate student from Cornell University, however, have developed a method for synthesizing the sound of moving fabrics -- such as rustling clothes -- for use in animations, and thus, potentially film."
Last reply by Marc Wielage, -
- 15 replies
- 2.4k views
I have to wire 4 of them this week. Could use some ideas/tips. The way the board used to be had every single i/o wired to a patch panel. I thought that was way overkill. I have wired these before, but not quite to that extent. What are the most important things to wire to the bays? What are the most often scenarios you guys use them for? Most of my work is digital, with very little outboard gear. I love getting into old analog stuff.
Last reply by studiomprd, -
- 15 replies
- 2.9k views
Hi. I was thinking about to have a surround system at home just for editing and small proyects. I would like to hear from you about a budget monitor system having enogh quality and accuracy in order to be confident working at home that way. I was wondering about yamaha (5,7 or 8 ) or those little jbl lsr 305 (or 308) whose everybody is talking so good, some adam or something like that... (Each system with its own sub) Never tried any of these, I have used genelec 8020 and they are great but they are in the very upper limit of my budget. I would appreciate your opinions and experiences. Thanks!
Last reply by jgbsound,
