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Danijel Milosevic

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About Danijel Milosevic

  • Birthday 08/13/1978

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    http://www.danijelmilosevic.com/

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  • Location
    Belgrade, Serbia
  • About
    post guy, ocassionally in the trenches

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  1. Yes, it is usual nowadays that they ask for poly's - the productions I get to work for all edit using FCP, and they say multi-mono can somehow easier escape the sync by accident during the editing then the poly's (but then again, one assistant told me its BS, and that they don't know their housekeeping). The postproduction workflow on this particular movie didn't involve production sound iso's in the picture editing stage. They used the mono sound that I mixed on-location and sent to the RED via IFB (with several shots where the wireless didn't work out right, so I provided them with the mono downmixes later). The iso's were clapper-synced by myself at some point (the other day, to the rough picture cut) to be used in dialogue editing, by me, again. This wasn't a big deal, due to the fact that entire movie has less then a hundred shots (mostly one-shot scenes), so I did the seek'n'sync job in a day. So, as you see, I'm the only one using the tracks, and I found it more convenient to have a single 'production sound' folder (with subfolders by days) from which I'll be grabbing iso's, without conversions, and with the possibility to take only the tracks I need. When I select all the tracks from a single take, and drag-and-drop them to the Nuendo or the ProTools timeline, they line up perfectly, and I have no problem keeping them in sync later! Hope that explains it Cheers RVD!
  2. Thank you everyone. I was not aware of the Cantar mailing list, and I needed a quick reply, because I was beginning to sync the files (clapper method), and as of yesterday late night, they're in sync No actor names, though..... If I rent out a Cantar again, will definitely check that list!
  3. Thanks Vin. For some reason, Nuendo sees the rest of iXML data, but not the channel names..... I'll try and see how ProTools handles it later in the day (just for the fun of it). As for the consistency - its been kept rigidly, but I have 6-12 actors in most of the scenes, all speaking at the same time, so you can see why it would be handy to have their names in the filenames
  4. OK, I've just found the long filenames switch.... 5 minutes after posting, and I admit it's very visible in the main panel..... So, the second question remains - what to do with the channel data? Can it be embedded into the filename as well?
  5. Hi everyone, I've recorded a movie on a Cantar X2, and my monophonic filenames are short (BA1234_1.WAV, BA1234_2.WAV....) For post, I want long filenames that include scene/take info (like BA1234==123A 12R w14==_1.wav). The Majax manual says: By extracting the Sc&Tk from within the BWF files Majax can add them into the filenames going to the post-chain. How does one accomplish rendering these filenames? I've tried every single option in Majax at least twice (and I've read every single page that google returns when inquired about iXML, Cantar, filenames, workflow or any combination thereof with no luck......) Additional question: Can those monophonic files have the channel info attached? (like _1_Boom1, _2_Actor1 etc) - if not, did I enter them into the metadata just so that I can see them in the reports? It would be very practical for me to see the channel names throughout the post.... Cheers!
  6. The rennaisance way of doing sound for film in eastern Europe (and probably all of Europe) always meant that the production mixer did the final mixing as well. Picture editors were the ones to edit in most of the music and sound effects. Unfortunatelly (IMHO), this way of working gave way to Hollywood-style workflow, but there are still a couple of guys in my country (including me) who do both jobs. For me, production mixing came out of frustration with the tracks that I used to get from the field, so I decided to go out and capture them myself (so, at least, I can only blame myself), but became my prefered life-style over sitting in the studio (which is still my main thing, though).....
  7. Yes, on this particular show (a three camera shoot), the DP wanted insanely wide master shots, so, later in the post, we used the boom only for room in some interior shots. There was no point in feeding the boom to the boom-op I hope that one day it will be easy for the boom-op to dial-in to whatever he wants to listen, because he is on the actual location (not in the control room) watching the actors move up close, so when he hears the rubbing noise, he has this visual-aural connection, and he instantly knows which lav is wrong, and in what way - I don't have to explain if I heard a thud type noise, or unshaven-beard-rubbing-the-shirt type of noise....
  8. Of course, all went well..... BTW, I was preparing for the worst (brought lots of ice-gel), but I'm actually amazed at how quiet the camera is We had shots of up to 1 minute today, and it was insanely hot, but the fan never went on during the shot. Thank you everyone, it was a real pleasure reading this forum for the past year, I'm signing off temporarily, because we're shooting in a very rural environment; I doubt I'll have any Internet access....
  9. I was sending a stereo feed to boom-ops on a lav-heavy TV production, where it was more important to have clean lavs because of the wide shots. Having 2-3 lavs on the left and another 2-3 on the right helps locating the problem 50/50
  10. OK, thanks everyone! We'll do a test tomorrow - about an hour and a half to play with the camera, but I needed this to tell him that we're not going to be the first sound crew ever to attach a receiver to the RED True, camera department, and the one who should have the final say is probably the steadicam operator.... Danijel
  11. Hi everyone! I'm SOOOOO sorry - I haven't investigated/googled this enough, but I'm overwhelmed with preparations for a shoot on Thursday, so I hope you guys (gals?) don't mind me addressing you with this issue: I was planning to attach a Lectro IFBR1a receiver somewhere on the RED cam body, to record a scratch mixdown throughout a 3-week feature shoot. I spoke to the owner of this particular RED cam (rev 17), and he said he fears that a wireless device could compromise picture recording by interfering with the internal electronics, just like a cell phone would.... The thing is, this is only his 6th feature rent, and none of the previous crews recorded ANY sound, so he was surprised in the first place, and suggested we run a cable. So, does anyone have experience with this workflow? Any assumptions based on frequencies/powers involved? Or was this discussed somewhere before? Thank you, Danijel P.S. Lectro receiver doesn't TRANSMIT anything, or does it?
  12. Reaper 3 is out! I just tried it, and no change about armed track height BTW, it's grown from 3.6 to whole 4.5 Mb!
  13. Thanks! I was just about to start looking for something like this. Sorry if this is obvious.... : How does one attach this thing to a battery? Say if I want to attach it to a HIROSE connector?
  14. Worst thing about small rooms are room nodes at fundamental voice frequencies like 120Hz or 200Hz. And there is nothing one can do about those without bass traps which would take up two assistants to carry around.....
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