Workflow
discussions about workflow from production through post-production
705 topics in this forum
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- 3 followers
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I got a call today for a job on Thursday which the producer thinks might be a 5D shoot. Unfortunately, he doesn't have all the info yet. I've asked for a contact number for the editor handling post which I may, or may not, get tomorrow (Wednesday). If this is a 5D shoot, I'll run double-system, of course, and use a time code slate if possible. What is the latest for this camera? Did they ever implement 23.98 or 24fps as was rumored? Is it still strictly a true 30fps? For sending reference audio, is the mini-jack input at mic level only? How is the input level adjusted on the camera? I figure a Sennheiser G2 with a hot shoe mount would probably be a good …
Last reply by Todd Weaver, -
- 2 followers
- 46 replies
- 974 views
Hi everyone. For the first time I have a massive recording issue with the new BP-TRX Audio recorder. As always I synced the files with my video in Post, but the file from one transmitter/recorder shows a duration of zero seconds in tentacle sync studio, although it can be played back perfectly fine in VLC and timecode can be read from tentacle sync. In LTCconvert I cannot even import the file. File size on both recorders is about the same, so the file should be ok. What can I do to make it readable again and keep the embedded timecode??
Last reply by Sound, -
- 1 follower
- 4 replies
- 179 views
Hi everyone, I’m wondering what you all do when camera switches from a standard frame rate (for me, usually 23.98 or 24) to a high framerate shot. I encountered this the other day, where we were shooting 23.98 on an FX9 most of the day, but grabbed some B-roll (with dialogue) in 120fps on a Sony a7s. I offered to switch timecode to 30fps across my tentacles, one of which was running audio tc into the a7s, the other was feeding my mixpre10. I figured this may be useful since 120 is divisible by 30. But the director said no, keep it at 23.98, as switching tc would create interpolation issues in post. Obviously we still slated…
Last reply by Ian Berman, -
- 3 followers
- 12 replies
- 550 views
Recently somebody commented it and it made me think. Since I'm usually the only sound guy on set I never see others boom, except for the few times I had an operator - and those didn't do that. So what I often do is put the boom on my head and hold the rear side with one hand and use my head as a lever, so I have my front hand free. Doesn't cause coises from my clicking elbow or moving my hands, which is nice. So. Am I the only one? Because then it might be something cultural, having grown up in Guatemala where people carry stuff on their head lol
Last reply by Fred Salles, -
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- 139 views
Hi everybody I've been wondering if there's someone out there who could give some advice on field-recordings specifically for cinema. I've learned and experienced myself that correlated stereo/surround setups tend to fall apart in a mix since 90 % of the audience are not sitting in the "sweet spot". But still I find a lot of field-recordings are done with an MS/DMS setup. I can totally see why considering how compact and fast it is. Maybe the only chance to do on-set ambience at all. But maybe there are some opinions also from a post-perspective on which setup works best for this kind of situations. For the next project I get the chance to come back to t…
Last reply by Sebi, -
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- 13 replies
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Was just wondering if anyone was running Lectrosonics Wireless Designer on a tablet, and if you are connecting via ethernet adapter or USB hub adapter to your receivers? I was hoping in a perfect world to connect to three DSQD's through a tablet connected to an ethernet adapter to an ethernet switch (to interface with the DSQD's). It's not ideal having a laptop connected to the cart all the time, but I really like having the ability to have Wireless designer going all the time. Has anyone had success getting wireless designer installed on something smaller (Android tablet or Chromebook, something like that?) Thanks.
Last reply by johngooch, -
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- 223 views
Hi all, has anybody successfully Genlocked the Arri mini LF or the Alexa LF from the external timecode source (via Sensor - Genlock - TC In) using something other than Ambient or tentacle sync timecode generators? I’m trying to use my Betso TCX 2+ but I am getting Genlock errors flash up on the camera multiple times during the day and occasionally the 1st AC loses picture. I have swapped to an Ambient system & all appears fine. Thanks Steven
Last reply by nickreich, -
- 4 followers
- 6 replies
- 461 views
We are going to shoot a party scene with dialogue. Party scenes with no music always look akward, because everybody is moving to their own rhythm. I have heard of playing back music with a low hicut, so they can get rid of the bass rhythm in the post. Did someone has experience with this kind of method? Where would you set the hicut? I would think about 50hz, far away from the voices frequencies. But I there anything to be aware of?
Last reply by Ben B, -
- 2 followers
- 1 reply
- 232 views
Hello! First time posting here... I've been a dialogue editor for a good few years now :) I've been working on some software to automate little workflows I've macro'd over the years. The most useful of which is track phase alignment or fix syncing. So here it is... TrackAligner: http://trackaligner.com/ I'll be making some videos later this week, but just thought I'd post it here in case there's any interest! James
Last reply by Sandor Gyurkovics, -
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- 5 replies
- 304 views
It's been a while for a thread on Genlock. Actual camera sync (not just timecode identification on frame1 in the XMP metadata of a file) Sure 1. live video switching needs Genlock, 2. 3D camera rigs -- cameras need Genlocked for in phase shutter and timecode sync. 3. shooting concerts, all-day corporate conferences, or long form documentaries with takes being 1-2 hours before media change means multicameras need to stay in sync and not drift. Other than the old RED camera issues and ANYTHING older than 2011.... When you've done a shoot with 2 or more cameras with very long takes. Were there any very productive conver…
Last reply by RunAndGun, -
- 4 followers
- 6 replies
- 363 views
Today, a client has asked me to do some research for a practical solution to sync one or more iPhone 12 Pros to a timecode enabled audio recorder for an upcoming double system shoot. In my particular case, that would be either my SD633 or MixPre 3II. Maximum of three inputs...two wireless lavs and a boom. I own four of the original Tentacles and have looked at the Ultrasync Blue app/hardware. I'm also looking at both the Mavis and Filmic Pro iPhone apps. If someone has sorted out a workable existing solution, I'd appreciate any feedback and experiences. Thanks! Dave Wendlinger San Francisco, CA
Last reply by nimra, -
- 2 followers
- 12 replies
- 283 views
Does anyone know a fast way to batch extract a mono channel from a stereo wav file on macos while keeping the timecode? I just want to extract the left channel to a separate wav file with timecode. I tried ffworks and apple compressor. Both exported files have lost their timecode. The reason for this: I just tried the new Deity BP-Trx recorder. Unfortunately it records in stereo, even when you set the input to mono. When I sync in Tentacle sync studio after that, there are a lot of redundant audio tracks and i can even run out of track when converting to broadcast standard xdcamhd (which has only eight tracks in total).
Last reply by Constantin, -
- 2 followers
- 47 replies
- 7.4k views
I am filling in on a movie next week and when I asked the DIT (who was my only contact) he said they are shooting Alexa XT at a true 24 fps. This always raises a flag and I replied that in the past there have been people who have specified 24 fps but what they really meant was 23.976 (you know the drill). Well, evidently I ruffled his feathers a bit, his reply to me: "If you run across a DIT who says 24fps and means 23.976, then he should turn in his wave form." I think my mistake was implying that it has been a DIT in the past that has made this mistake (which is not the case). So, I guess I set everything at 24 fps --- I actually have never done this before.
Last reply by Jim Rillie, -
- 16 replies
- 650 views
We are working with a RED Monstro and a BlackMagic PCC, timecode is being jammed to both,. This is not to sync audio but to sync the two cameras together. Both have project/base frame rate of 23.976, and our shooting rate is 29.976, to give a slight gliding/slow mo feel. When sycning both via timecode in Resolve, the cams have been off everyday so far, sometimes by 6 frames, sometimes 2 seconds and it drifts throughout the day. I was wondering if we're doing there's anyway to get TC spot on for both or if it's impossible because of the off speed shooting rate, and therefore it will always be off regardless that both cams have the exact same setting…
Last reply by Bouke, -
- 1 follower
- 8 replies
- 400 views
Hi everyone, sometimes I am working with five analog audio transmitters at the same time. Its important to use a frequency band or channel group with only few interference (for example 21, 22 or 23) Until now I could use the app freqscan, to find the best channel group to use for all my lav mics in any given location https://www.irt.de/de/themengebiete/funksysteme/drahtlose-produktionstechnik But now, this app isnt available anymore. Is there any other app to find the best channel group for any place?? Regards
Last reply by Sound, -
- 2 followers
- 2 replies
- 556 views
Last reply by karlw, -
- 2 replies
- 288 views
Hi y'all I'm planning some rather complicated vehicle SFX recording sessions and realized I'm going to need to use free running timecode on 4+ units. One of the issues I'm running into is I've never jammed an F8 via BNC to an MP6ii using HDMI mini. I'm not really sure what the workflow here is since I don't think you can get cabling that works this way. I'm not familiar enough with the timecode features, but I think you can have the MP6 follow an exteral timecode box via the TRS line in port of the recorder, but is it possible to jam the device that way? I don't want to go down the path of buying a lot of extra cables that I'm not sure will work or not, so any …
Last reply by kaipaquin, -
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- 170 views
Hi all, Since some (well, a lot) of you are responsible for Timecode: QT change has had a major update. It is no longer dependent on QuickTime being installed, and 64 bits (big sur / Catalina compatible.) And it now works also on Mp4 and BRAW files. Beside that, I've recently added an option to offload cards and set TC based on system time, but with a non-drop option. This was done per feature request from Top Gear USA. The logic behind it: They shoot 23,976, but have a couple of drones with no TC nor sound input. Thus the sound guy jams all cams, and the drones get their clocks set to the TC displayed at a given time. Example: Cams are jammed at…
Last reply by Bouke, -
- 4 replies
- 403 views
How many mixers actually try to mix their content? Over and over I have been told to just put the lavs on one track and the boom on the other. I would love to hear from those in Post Production too.
Last reply by haifai, -
- 2 followers
- 14 replies
- 804 views
I'm predominately a production sound mixer although I dabble doing post audio for little documentary shorts. One of my clients has been using a MixPre 10 II to record their audio due to the fact that they shoot a lot of pretty intense sports where people can be yelling at any given moment etc. They've been editing in Premiere using a 32bit timeline and it has worked out for them in that they've been able to use the 32bit files to recover info from those tough moments that normally would have been blown out. The problem we're having though is that when they go to send an OMF/AAF to me so I can load it up in Pro Tools, well the only export supported is 24 bit. They say …
Last reply by codyman, -
- 7 replies
- 710 views
Hi all, I'm just starting out in the filmmaking world, so please forgive my lack of knowledge. I have no-budget film I'd like to make, and I'll be doing everything myself. I can't seem to wrap my head around the audio side of basic 2-actor coverage. That is, filming the over the shoulder shots, and the medium shot. Could someone break this down for me as though they're explaining it to a child? If I have the camera set up for an over the shoulder shot, and I'm booming the actors, am I booming both actors as they each speak? Or just one actor, and then the other actor when I do the reverse shot? And then for the medium or other shots? And then how should I pie…
Last reply by HarryR2, -
- 2 followers
- 17 replies
- 4k views
Hello all. My friend and I are both lucky to study sound design at the Savannah College of Art and Design and we have access to a Fisher boom, apparently one of few out east. We've set up a time with our department to be able to practice this niche skill twice a week for 2.5 hours each day and are looking for suggestions on good exercises to help home technique! Any and all help is greatly appreciated!
Last reply by James Louis, -
- 0 replies
- 424 views
Hello, My ZaxConvert app stopped working. Running 10.13.6 (17G14042) High Sierra, Installed Lame 3.97 and Updated ZaxConvert v6.43 from 6.33. Recording on Nomad v8.01 When I extract the files It creates the folder but it does not extract the file. Any hints? Thanks
Last reply by Manel, -
- 1 reply
- 477 views
I'm interested in upgrading to a dante system and was wondering if anyone had any recommendations for certain dante workflows? How do you incorporate the system into your cart? Anyone using a remote setup running out to set? Pictures of setups maybe? Thanks so much!!! Steve
Last reply by S Harber, -
- 1 follower
- 3 replies
- 980 views
For the ones that do / know about audio post: When I got back a mix from audio post (Few years ago, mixes came from ProTools), sound was always late by some 20 Msecs. Audio post told me this had to do with latency introduced due to processing. (I can remember from VERY long ago that a 'render' in PT was in fact a playback trough DSP's with simultaneous recording, can't imagine this is still the case...) But, fact is (well, was, question follows..) that sound was not proper in sync. (Don't bitch about 20 Msecs being no issue, that's not the point.) Question, is this still the case nowadays? Reason, I'm altering my LoudnessChange app. (It nowadays can do way m…
Last reply by Bouke,
