The Post Place
the section for everything relating to Post-Production
350 topics in this forum
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- 2 replies
- 1.1k views
Hey Everybody, Technical question: I’ve been asked to provide ProTools music playback for a video that will be filmed at high speed (47.952 fps) and then ultimately played back (or shown on TV) at 23.976 fps. To achieve this. the talent will be lip syncing with the 2x music, so that when it’s slowed down the lip movement will appear normal. My question is this: Is there any way for me to be sending timecode to the Location Sound Mixer as we are filming? ProTools doesn’t offer fps of anything higher than 30, and nor does the Location Sound Mixer’s recorder. Thanks
Last reply by TVPostSound, -
- 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, -
- 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, -
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, -
- 1 follower
- 11 replies
- 1.6k views
From : CURRENT thread... since this is an edit question... I posted here too.. Quick question for those with edit experience... I know different Edit programs probably open up tracks from a Poly file differently... Adobe premier pops them open from what I know in order of PRESENT tracks... If 3 is not used for example they all open up 1-12 lets say into the next open slot.. 4 becomes 3 if there is NO 3 recorded on a take... it bumps up and fills the empty slot... At least this is what I am told... When we use this app (Sound Report writer) for putting together our reports, we have the option of listing tracks as 1-12 for example.... and simply …
Last reply by Wandering Ear, -
- 12 replies
- 1.7k views
Hey all, I'm about to start work on a small documentary. I'm doing a preliminary mix so the producer can send it out to a minor festival. I'm nearly positive that they will do some revisions based on their feedback, which means my original mix will be out of whack with whatever newer version they come up with. How do you all deal with large changes? How do you maintain what you've already done and integrate that into the new edit? It seems to me that you'd have to start from scratch. I'm using Pro Tools v8. Sorry if this seems like an elementary question, but I've never had to deal with wholesale changes, only minor substitutions here and there. Thanks in adva…
Last reply by Bondelev, -
- 4 replies
- 10.1k views
Hello, How do you export a Quicktime file with 5.1 audio from Final Cut Pro 7? You would think this would be pretty simple, do x, do y, export and walla you have a 5.1 audio file. However, I'm running into a few issues and I'm unsure how to verify if it is indeed 5.1 Here's a couple of instructions I found: http://fcproducer.com/2007/02/export-51-surround-sound-from-final-cut-pro/ https://discussions.apple.com/thread/3284332?tstart=0 I followed the first one. The first thing I noticed is that once I set my 6 tracks to dual mono, I could not hear the dialogue track anymore within Final Cut 7 program, however I can see that it is present in the waveform. I…
Last reply by Joe Riggs, -
- 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, -
- 5 replies
- 1.7k views
Great resource for picture department and producers https://blog.frame.io/2017/04/10/how-to-keep-your-sound-editor-happy/
Last reply by mikewest, -
- 8 replies
- 4.9k views
I've been following the "" thread. page-3#entry233201, Marc Wielage brings up the point about delay caused by display devices: These delays of just 10 ms are enough to throw off foley, sound fx, and dialogue - anything really. Does anyone know of a reliable way to measure this kind of picture vs sound delay other than this: http://www.pharoahaudio.com/syncheckproducthomepage.html I use Syncheck version 2 and it seems like the appropriate tool, but even Syncheck isn't foolproof. How else does one measure the delay so that it can be accounted for? The second part of the question, how to adjust for the delay, is easy enough in Pro Tools. It has a video sync …
Last reply by Tom Duffy, -
- 5 replies
- 1.3k views
The company I work for wants me to create a new position in the post team and be in charge of it. You tell me what could be its name since I am not sure yet. Let me explain you what it is about first. We are a big TV production company, and constantly there are 2, 3 or even 4 shows being produced simultaneously. Each production has its own audio post team, which includes 4 people most of the times: A mixer (who also selects and edits the music, that's why here we call him the "musicalizer"), a dialog editor, a foley editor and an assistant who does backgrounds, conforms, and various tasks (everyone has to do everything at certain point when deadlines are tough). The…
Last reply by Ze Frias, -
- 10 replies
- 3.5k views
Actually getting drunk is not needed to perform this task but wanted to show that even someone after a couple of drinks couldn't mess it up.
Last reply by Chad Peter, -
- 0 replies
- 766 views
Hope this doen't get flagged but it's pretty specific to this section. Y'all may not spend too much time in the For Sale part. My friend, the retiring Post mixer, just brought over his entire SFX library on CDs. Probably close to 300 disks. Mostly Sound Ideas stuff, some BBC some others. Comes with all the catalogs. Cricket chirps? Got it. Saturn rocket take off? Got it. Even two Denon DN-1200F 200-disk changers and the remote control. Did I say HUGE? And heavy. The Denons weigh probs 40 pounds each. If anyone here wants to discuss this, PM me.
Last reply by tourtelot, -
- 5 replies
- 1.5k views
Well we usually work on different audio tools to mix our film, but all of them got something in comment..... The nice picture of the audio form, I guess we can learn allot from each other about the photo of our final mix, like u can see the db range, the pick limit, SNR, amb levels, and on and on. Well I know this topick is not so pro cience reference but we all use this nice audio wave pic to understand what's going on sometimes. Now let's see If I will manege to upload may latest final mix pic. Thanks all...
Last reply by Alfred Tesler, -
- 1 follower
- 10 replies
- 5.2k views
http://www.youtube.com/watch?v=O8PQ1vcTaoI
Last reply by VASI, -
- 0 replies
- 804 views
Major mess apparently http://www.gearslutz.com/board/music-computers/844460-warning-do-not-install-new-ilok-software.html
Last reply by nwstudios, -
- 5 replies
- 1.3k views
Hi everyone, Has anyone been using an IMac with protools and a 5.1 system. If yes, what are the pros and cons of it? Been thinking of getting 21.5 inch soon. Please let me know your thoughts about it Thanks
Last reply by Philip Perkins, -
- 5 replies
- 3.6k views
I'm doing a research project about dialogue audio in film and have a few questions to ask those who are interested in sound design and mixing. Please fill in this survey if you're interested to participate in my research: www.smartsurvey.co.uk/s/DialogueAudio/ Thank you guys for your help!!!
Last reply by jgbsound, -
- 1 follower
- 5 replies
- 2.6k views
I created an embedded AAF file of a mix session I am working on, this mix includes volume automation, compressors, EQs, etc. Once the AAF is created and I go to open it to make sure it is all correct, but none of the volume automation, or any of the inserts that are built in protools open in the new imported file. All the clips seem to be correct, but none of the data or those inserts are loaded. Am I exporting or importing the file wrong? Is there another way for the AAF to include all automation and inserts? Thanks for all your time and help. Carlos.
Last reply by ProgressiveDrum, -
- 1 reply
- 1.1k views
for some reason, the editor says the track names weren't on the files from my S633. I imported them to PT10HD and see the names. Is it a setting in MC or perhaps a setting that needs to be done when importing?
Last reply by AlexQ, -
- 1 reply
- 1.2k views
Apologies in advance, I'm sure this is covered here on this group but I can't find it anywhere (yes I've tried various searches). I'm trying to import a polyphonic BWF file (8 tracks, recorded on Zoom F8) into Logic Pro X while preserving the track names that I have saved in the metadata. Is that possible? Seems like it should be a no-brainer but I can't make it work. I can do it by splitting the tracks into separate mono tracks via Wave Agent and then importing them separately into the DAW but then I lose my track name information, not to mention the annoyance of having to import each track separately. If you could help point me to some info on how to do this it would be…
Last reply by Mark Vesterskov, -
Apologies in advance, I'm sure this is covered here on this group but I can't find it anywhere (yes I've tried various searches). I'm trying to import a polyphonic BWF file (8 tracks, recorded on Zoom F8) into Logic Pro X while preserving the track names that I have saved in the metadata. Is that possible? Seems like it should be a no-brainer but I can't make it work. I can do it by splitting the tracks into separate mono tracks via Wave Agent and then importing them separately into the DAW but then I lose my track name information, not to mention the annoyance of having to import each track separately. If you could help point me to some info on how to do this it would be…
Last reply by ProgressiveDrum, -
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, -
- 13 replies
- 1.8k views
My friend: "I'm having a lot of fun.They have a massive 64 channel ProTools HD system that has been newly installed, and it still has yet to be booted up after being available for 3 weeks. Nice!" Me: "Have fun with the new ProTools desk-- I hear it's perfect for putting a USBPre2 and laptop on top of" My friend: "That's pretty much how i've been using it! ; )"
Last reply by Henchman, -
- 1 follower
- 10 replies
- 1.9k views
http://goo.gl/PnaZ8O
Last reply by Wandering Ear,
