Joe Riggs

  • Content count

  • Joined

  • Last visited

About Joe Riggs

  • Rank
    Hero Member

Profile Information

  • Location
  • Interested in Sound for Picture
  • About

Recent Profile Visitors

1,053 profile views
  1. Yep, if possible give both timecode and scratch track, it all helps.
  2. I would prefer 0 empty tracks but 1 is manageable, in the past I've received 8 track poly files, with 4 of the those tracks being empty, which makes it really cumbersome in the edit.
  3. Premiere and Protools
  4. I have a bunch of polyphonic wavs from production with 8 tracks for a 2 person stationary scene. Some mics sound inferior than others ( I do want to keep all the tracks in the end) just for the offline edit that amount of tracks per clip makes it really cumbersome. I'd like to reduce the number of tracks to the strongest/cleanest ones (which seem to be the first 3), then sync....or I could sync first, then reduce. I just want to make sure that by working this way, post sound will still be able to conform to the 8 track original wav file. Has anyone done this with Wave Agent or some other program? Are there issues conforming to all tracks in the original files, if you create new ones with only 3-4 tracks in that program?
  5. No problem with the sound quality. Just that amount of tracks per clip makes it really cumbersome in the initial edit. As long as post sound can re-conform to all tracks, I could reduce them.
  6. I'm editing the actual picture, so no camera audio, just the polyphonic .wav file. That dual wires is interesting, good to know, although probably not the case in this instance because there is no physical interaction.
  7. Hi, Would there be a reason to record 8 tracks on a stationary 2 shot? Even if you were to use 2 booms (which is pretty rare in indie stuff), 2 lavs and a mix track, it would still be less. Obviously some tracks sound inferior to others but I didn't receive any sound reports, so I have no idea, what's what.
  8. Late to the this as well, so glad you're ok Marc.
  9. One of the greats, his work left an indelible impression on myself and many of my peers.
  10. I'm coming for a very indie perspective, where there's usually no assistant editor and sound reports are a luxury, I've worked on more projects without reports, then with them. Example, I worked on a project without sound reports but the files were named by scene and take, so when it came time for post sound to take over, they could simply go by the file names if they needed to replace a line or word with another take. If in that case, the mixer went by some sequential naming convention, the post sound job would be infinitely more cumbersome and most likely would have cost more money. If you are starting at and only labeling T01 every new shooting day, I would welcome the "dy46" in a filename, anything to help differentiate the files to give it a unique name. By only organizing by day on the harddrive level, one could wind up with a "T01" for every shooting day, I don't want 24 files named "T01", that could cause a ton of confusion, such as if that were done in the example above. If you're generating sound reports, that's a whole different story and I could see how file names could be less critical, however, I still prefer naming to be scene and take. Question, if you have one sound mixer who is doing double duty and also booming, does he have time to do reports as well?
  11. It can work but at the very least it is an inconvenience and it would take longer/more money for them to complete their job. If they need to replace a line or word, it's much easier for them to find the corresponding takes when they are labeled as "101A-1" vs "ASD1001" or just "Take04", as examples of sequentially numbered file names I've received in the past. Another Thank you
  12. I do, 101A-1 please, files should be named by scene and take, period. This is helpful from the start all the way through to the post sound process.
  13. If one has a flattened quicktime file and wants to create a DVD with a 5.1 mix from it, using compressor or adobe media encoder. What does that flattened .mov file need to have audio wise? If it has 6 discrete channels, can I then take that, and create a 5.1 mix with one of the above programs? Or does the MOV file need to be 5.1 from the start?
  14. Any there any low end portable recorders, that are capable of naming files by scene and take #? never used them but I'm talking about gear like the H6, Tascam DR-680, rolad R-44.