The Post Place
the section for everything relating to Post-Production
350 topics in this forum
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- 1 follower
- 22 replies
- 2.9k views
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, -
- 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, -
- 13 replies
- 2.9k views
Hey Everyone, So I've been reading a lot of books of late about all the "below the line" operations, including Both editions of Purcell's dialog editing books (the 2nd edition is quite insightful about more specialized tasks like BNR, ADR, and treating dialog to give it that extra pop), Rich Tozzoli's Protools Surround Mixing, Holman's Surround Sound But final layback is still a black box mystery to me so I'd like to read more about the techniques they utilize. Can anyone recommend a good practical guide to rerecord mixing? Thanks!
Last reply by studiomprd, -
- 14 replies
- 2.9k views
[if you think that I should post this in a different section, please let me know] This question is more for people who are on-set only type folk... How often do you find that production comes to you asking either for you personally to do the sound design and mix or for a recommendation from you for good people to go to? If you are working on a union gig, does that mean that the post has to be union as well? I do post audio at an independent sound house in NYC, and am trying to elevate the quality of movies that I am working on. I know that many of the folks on this forum are working on very interesting/quality content, but I had always assumed that the…
Last reply by GrahamTimmer, -
- 8 replies
- 2.9k views
Hi all, I'm currently helping a friend out editing sound for his short film and there is a couple of scenes shot on and around a beach, we are struggling as one of the actresses speaks quite quietly and is conflicting with the sound of the rough sea and waves, just wondering if anyone knows a fixable solution to either lower the background noise of the sea, effects in audition or premiere that might be helpful or how to raise her voice without raising the full track so it doesn't conflict as much, ADR isn't an option really so it's got to be something we can fix In the edit if we can. Thanks in advance
Last reply by al mcguire, -
- 5 replies
- 2.9k views
Hello, I am currently doing production sound for a indie feature set in the fifties in an African city. Obviously we struggling to avoid plane, (chinese) motorbikes, modern cars, AC fans, water pumps, amplified call for prayer, to mention only the quotidian ones... I do not think I will get a chance to record enough stereo ambient sound as I usually do because of these issues. I have a fairly number of years of experience in film but this is my first non contemporary era film. So my question is can we rely on post only to re-create ambient sounds, assembling isolated sounds, to get credible soundscapes for the diverse scenes set in town? What a…
Last reply by Mike Westgate, -
- 12 replies
- 2.9k views
RX 5 Advanced Audio Editor Highlights De-plosive: Instantly eliminate every single plosive from any dialogue track, with total transparency. This is an industry first. Leveler: Automatically creates a clip gain envelope to smooth any volume inconsistencies with the Leveler. Optimized with intelligent De-breath and De-ess algorithms, the Leveler automatically detects breaths and esses in a dialogue take, then applies transparent clip gain adjustments. This is an industry first. RX 5 Audio Editor Highlights Instant Process tool: The one-click magic eraser for your audio. From unwanted cough to scene-interrupting siren, instantly paint away any audio problem directly …
Last reply by Jay Rose, -
- 4 replies
- 2.9k views
new version of Izotope RX6 out: http://www.newsshooter.com/2017/05/03/isotope-rx6-audio-editor-aims-clean-impossible-nab-2017/
Last reply by JWBaudio, -
- 1 follower
- 25 replies
- 2.8k views
On some shows like Breaking Bad and True Detective, you can sometimes hear a high frequency tone on top of the dialog track, as if it was some kind of carrier tone. It also follows the same gate as the dialog so it must be a technique. Does anyone know what this is?
Last reply by bmfsnd, -
- 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, -
- 8 replies
- 2.6k views
So I have a feature that has a fair bit of outdoor shots that were filmed on location at a catholic school on E Colorado with traffic driving by. They won't ADR so I'm going to try and do a little multiband expansion to tame that noisy beast. i also have run rx2 on a few of the noisiest sections to try to at least get the noise floor to match a little betters making other fades between cuts a little more seamless. Now I've never really used waves c4 so I'd appreciate some general tips you guys have for me. Tell me how you like to use this tool?
Last reply by jgbsound, -
- 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, -
- 10 replies
- 2.6k views
There is a scene in Batman V Superman at Lois Lane's apartment bathroom. Noticed underneath dialogue there was taxi car horn noise. Was just checking to see if there was a discussion on that decision. Whoever made that choice really set the scene really well. You didn't have to say it was Metropolis, it sounded just like New York. Was there any back and forth about laying more noise under dialogue? Or was that one of many honks from on location where more noise needed to be added to match unavoidable set issues?
Last reply by cmgoodin, -
- 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, -
- 1 follower
- 6 replies
- 2.6k views
I know this one seems pretty obvious, but I would like to know what are the duties of a Supervising Dialog Editor. Of course he has the responsability to observe other Dialog Editors work and keep the quality as high as possible giving them advice, and providing them with tools and techniques that will help them to do their work better. I also understand that a Supervising Dialog Editor is responsible to be in constant communication with the production team in order to give them feedback and letting them know what are the needs at Post or what can be improved. However, I would really like to know with as much detail as possible about the specific duties of Sup…
Last reply by The Immoral Mr Teas, -
- 14 replies
- 2.6k views
Has anyone heard of this software from Adobe? The demos sound too good to be true. I'm with Rainn Wilson, "I don't believe it." Mark O.
Last reply by Marc Wielage, -
- 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 follower
- 3 replies
- 2.5k views
Hi I´m having some difficulties conforming original audio from an EDL made by Premier Pro CC 2017. I´m not to familiar with Premier so this is really a question; When exporting a EDL in pp what is the difference between ticking in the "use sound roll/sound timecode" box and not ticking? I know that I get the sound rolls into the EDL, but the source timecode is not the same between the two options, and the edit is made from a proxy, so the timecode of the proxy audio and the proxy video should be the same? The point is that I do get correct source TC i/o times when I uncheck the "use sound roll/sound timecode" box, but then I don´t…
Last reply by Bubu, -
- 12 replies
- 2.5k views
Ever since our media manager switched to Avid MC6, he has been having issues with my 744T's filenames. Basically, when he try to import into Avid, the filenames gets truncated and the metadata is completely absent. The files worked perfectly fine in MC 5.5 before. My 744T has the latest firmware. I have called Sound Devices and they are not aware of this issue. I'm pretty sure this is an Avid issue. However, that doesn't explain the fact that the files from my Fusion imports perfectly. I have tried to change the separators, renaming with different format, ommitting any special characters in the fie names on the 744T. It still doen't import properly into Avid. Any…
Last reply by DunkleFish, -
- 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, -
- 2 followers
- 11 replies
- 2.5k views
Here's the issue: I recently worked on a show with another sound guy. We each had a couple of people wired, we each sent sound to camera wirelessly via Zaxcom. Multiple times a day I checked my levels. Sent tone, -20, mixed on my 552 between -4 and +4. Now it's come to my attention my audio is extremely low. They're cutting on FCP. His audio is fine, mine is not. The camera's were XD cams. I also recorded a backup on my 552. I've brought the files into ProTools, and the level's are consistently in the green - very rarely reaching pre-clipping in the yellow. He did not record a backup, and used a different mixer (which one escapes me now). The edit…
Last reply by Peter Mega, -
- 9 replies
- 2.5k views
I just received this email from Avid: Important install update regarding Pro Tools products This email is to inform you that Pro Tools 2019.6 (released today) resolves an issue we uncovered where interruptions in internet connectivity can cause Pro Tools | First, Pro Tools, and Pro Tools | Ultimate to delete local (offline) Projects. We escalated this issue with high priority, identified …
Last reply by macformat, -
- 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, -
- 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, -
- 25 replies
- 2.4k views
Hi, I'm a boom operator in L.A. and post sound is outside of my experience. A friend in NYC recently shot a 20 minute short for about $30k. She was able to get an excellent cast of well known NYC television and theater actors and got a good DP who brought his crew on so things went well on the 3-4 day shoot which was in one location. The picture is locked and now she needs to post the sound. She had budgeted $1000 and asked me if it was possible to get an experienced person for that budget. Frankly I have no idea. Any advice that I can pass on to her would be much appreciated. Thanks, Richard Bullock
Last reply by Henchman,
