Workflow
discussions about workflow from production through post-production
749 topics in this forum
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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, -
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I know a lot of you are staunch mono-mix supporters, a lot of you are split-track supporters (whether that's boom L, lavs R, or boom 1 L, boom 2 + plants R, etc etc), and I know this has been rather extensively discussed in the past, but most of those discussions seem to be from over a decade ago. How is everyone mixing in 2025 and beyond, with the ever-changing landscape of filmmaking (particularly narrative, of which I come from), shooting on 2, 3, 4+ cameras all the time, and ever increasing cast counts, plus all the other challenges of modern day filmmaking. Has anyone changed their approach towards production sound? Those of you mixing to 2-tracks,what ar…
Last reply by Oliver Mac, -
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I'm getting close to a final mix on a personal documentary that I've been working on for the last five years. We are in post sound right now, and starting to look at studios for a final theatre mix. I'm getting sticker shock, and wondering exactly what I'd be getting from a day in a mix theatre that I can't do on my own. In an ideal world, I'd really like to have a pair of experienced ears on my film in a theatre that will let me know what it sounds like in an actual screening. But it's not an ideal world, so I'm trying to figure out how important this is. My sound designer and I are both location sound mixers. I'm confident we can get it sounding good on…
Last reply by Bouke, -
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- 4 replies
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Hello, I'm looking for a sound report software that isn't Wave agent wich is great for a start but there is a lack of features and it need a lift up. Any ideas. Would love to enven buy a license if there is a new tool in development. Patrick
Last reply by Jeff Wexler, -
Conversion Method - 96k to 48k Production Recordings, preserving original TC: For those days when you record your production sound at 96 but need to deliver in 48, whether on purpose or accidentally. The below is written for Mac users; I'm not sure if Wave Agent or Twisted Wave are available in other platforms. Wave Agent is free and is from Sound Devices Twisted Wave has a batch processor, and is available on the web; commercial and reasonable though I think is subscription at this time, it's my understanding licenses are perpetual if your subscription expires. OUTLINE: Issue is: TC is calculated based on samples since mid…
Last reply by jeremiahmoore, -
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Hi all, First post here and what a great resource this site is! I've done a search but can't seem to come up with much at all on my issue. So, I accidentally recorded an interview for a documentary yesterday at 24bit/96khz instead of 48khz. I'm about to hand over the files to the production company and was thinking I'd like to convert all the clips to 48khz to make their life easier in post (Avid MC) and preserve my reputation (I'm a relative newb to the audio side of things) with the post facility/producers by not making things harder for them than they need to be. My question is, is it worth doing or am I worrying about nothi…
Last reply by jeremiahmoore, -
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I'm about to start a show that has just informed me, that they will use a Scorpio telescopic crane throughout the whole shoot. We're shooting everything inside a studio and I was wondering, if I should expect a lot of noise from the crane itself. I'll try to have a listen for myself before we start the show, but the last time I've worked with a technocrane a few years ago (different model though) it was quite noisy. Has anybody of you worked with this particular crane before and if so, was it a bigger issue? I doubt, that I can change much, but at least I want to make production/director aware of potential problems. Thanks in advance :)
Last reply by Wyatt Tuzo, -
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- 10 replies
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Working on an (online / cloud) database system that will be fed by several sources, including Qtake. Anyone got some experience with delivering stuff in a manner like this? Eg, sound reports in CSV / XML or alike? Does that go into Qtake or is this processed elsewhere? Where do your recordings go, to video assist / data wranglers? Are those always the same people who keep track of metadata? Questions questions... Bouke
Last reply by Philip Perkins, -
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- 11 replies
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Has anybody attempted a solar powered cart? Obviously, no use indoors, but I think a modest cart should be well within the power output of a reasonably-sized travel panel, with the possible exception of the charge station. I'd back it up with batteries, but the goal would be to be completely independent when shooting outdoors, and to have a break-away charging station that can be left outdoors when shooting inside. Just wondering what other people have done in this area, if anything.
Last reply by Wandering Ear, -
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If I sync two recorders with SMPTE timecode (i.e. not genlock), how precise is the synchronization? I take it for granted that it's precise within a frame or it wouldn't be reliable for picture sync. What I'm wondering about it audio sync: If I'm trying to maintain phase coherency between tracks for a musical recording, is syncing with timecode sample-accurate? I kind of assume it wouldn't be (since there's no precision below frame level). And, if that assumption is correct, what's the best way to sync two recorders with sample-level precision? Genlock (but isn't that for synchronizing camera clocks)? A shared input recorded on both recorders? Is sample-level …
Last reply by rocketamari, -
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- 5 followers
- 13 replies
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Seems like the popularity of biscuit rigs (pod driven process trailers ) has been on the rise at least for me lately for me on my last few shows. These self driving process trailers allow more flexibility for camera since they can be reconfigured easily and the camera can shoot more angles whereas a traditional process trailer with insert vehicle is quite limiting in comparison. For me the RF workflow & challenges when mixing from a follow van ( since most of the time we can’t get on these rigs ) requires careful planning and execution since I don’t have the benefit of riding in the front of an insert vehicle which allows for more controlled workflows. Bag drops …
Last reply by S Harber, -
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- 14 replies
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I'm frankensteining together a surround tree with a Mid-Side front and an almost-ORTF (ORTF with hypercardioids) rear. I'm using it for ambience recordings for what will ultimately become a 5.1 theatre mix for an indie film. The sound designer is more than happy to accept any form of multi-channel ... he was pleasantly surprised and very enthusiastic when I told him I was capable of doing this setup. I've done next to no 5.0 recording, but I know a little bit in theory. I know what I'm doing doesn't really fit into standard practice, but I also know there's close to a dozen varieties of mic configurations that get used, so I'm assuming there's some room to play. …
Last reply by inspire, -
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- 7 replies
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Hello guys, may I pick your brain? I’m pitching for a job. Requested is a way to record a cast with 30 talents mobil in a way, that different producers should have the possibility, to listen into everyone talking or pair 2 and more talent, to follow the different conversations. Thank you
Last reply by Mike G, -
- 4 followers
- 13 replies
- 4.6k views
I’m looking for a powerful RF coordination iOS compatible app to have in the bag on a small IPad. It should be able to import CSV scans, do coordination for wireless mics, and have up to date TV band info by location. Does this exist? I’m familiar with all of the macOS windows software. Was hoping to find something that is on par with the Mac/PC versions. Would happily pay top dollar for this kind of thing.
Last reply by Fred Salles, -
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- 6 replies
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Hey everybody, long time lurker taking the plunge. I'm on a project and just found out that tomorrow there will be a segment shot on an iPhone. I'm still waiting on details from production, but I wanted to ask how others have handled working with the iPhone. I'm assuming sending audio to camera isn't realistic, so I'm thinking double system with a TC slate. I see to get conflicting information online regarding frame rate. Does it shoot 29.976 frames or true 30. As far as I know they are planning on shooting in the iPhone camera app and not an app like filmic.
Last reply by LuisT, -
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- 4 replies
- 909 views
Sometimes I record discussions, which, in addition to recording the sound itself, involve sounding the space for the listeners. So far I have been using a bodypack transmitter with a lav microphone. The audience soundstage was small, so it could be used, but it was bordering on crosstalk from the speakers and also feedback. Now I will have to sound a bigger hall and I am afraid that it will no longer be usable because of the feedback. A headset mic or a hand mic would certainly be more appropriate in these situations. But is it possible to use a lav mic on the chest in these situations, is it commonly done in practice? Or are headsets or hand mics always used? How to prev…
Last reply by The Documentary Sound Guy, -
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- 9 replies
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Hey all, wanted to improve my workflow for recording time stamped notes when field recording and on some jobs. It saves locally on your phone and just needs an internet connection to start the device time sync for inserting Timestamped notes. You can then export as a CSV file of all your notes. This is very much version 1.0 so let me know what else you would like to see. https://soundrolling.com/blogs/news/notes-app-with-tc-timestamp
Last reply by Derek H, -
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- 15 replies
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A very good client of mine just offered me a very challenging audio job and I would like to get some advice from the forum members here since this is out of my wheelhouse. The shoot consists of up to 20 actors doing a table read. Ideally they would want an iso track of each actor and an automix of the entire session. I am not familiar with what gear exists to get this done. Are there automixers that have 20 inputs? My first thought was to stack four Sound Devices 664/668s to record the isos and then direct out to an automixer. I'm thinking that there is a better way to do this. Any expertise would be greatly appreciated.
Last reply by Phillip C Dent, -
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Asking the pros: Even with timecode boxes that don't drift, can audio and video be out of sync by almost a frame when editing? If shooting at 24 fps that's 41 ms, way more than the ATSC recommendation of 15 ms for lagging video for example. Here's my reasoning: if a sound recorder starts just as the frame number changed and the camera starts rolling just before the frame upticks, the NLE will align the two clips (audio and video) right next to each other but they started almost a frame apart. (For simplicity in this example the two devices started on the same frame). What's the point for manufacturers to boast of boxes sta…
Last reply by The Documentary Sound Guy, -
- 7 replies
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I am contemplating purchasing Sennheiser in ear monitoring systems for my live music gigs. Below are the 3 available blocks. If you have wireless Bay Area experience, please chime in. If I am buying multiple systems, does it pay to get different blocks? A1 block 470-516Mhz A block 516-588Mhz G block 566-608Mhz
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Last reply by Keenan925, -
How do you get digital files with correct timecode tracks? Case in point: I've got an old Betacam tape with three segments on it. Segment 1: timecode 00:20:00 to 00:21:00 Segment 2: timecode 00:10:00 to 00:11:00 Segment 1: timecode 00:40:00 to 00:41:00 Betacam videotapes are played back on a DigiBeta player with SDI out. SDI is fed til Decklink SDI 4K Media Express 3.8.1 is used for capture. Media Express shows incoming (correct) timecode during capture (overlaid the timecode of the burned in correct timecode). It'll jump from 00:21:00 to 00:10:00. Timecode shifts on original tape - this is reflected in t…
Last reply by The Documentary Sound Guy, -
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Hello everyone i need a tutorial about rec and playback mode in cantar x3 anyone could give a help ! thank you
Last reply by Dejan Ceko, -
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- 3 replies
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Hi, I hope this is the proper JWSound topic for this question. I am considering investing in an antenna setup, along the lines of these fins (https://www.trewaudio.com/product/psc-fpsc0044/) and this RF splitter (https://www.bhphotovideo.com/c/product/1469653-REG/psc_qrfsmasb2_rf_multi_sma_single.html) I mainly do one-person band / bag work for doc work; in my typical setup, I run two SRC's and two UCR 411a's into a 788T, and use the receiver whip antennas. However, I have recently booked a few short fiction films during which I was able to use a cart, though that was literally having my typical bag setup on a cart (and off …
Last reply by LarryF, -
Hi all ! As the DAW plugin industry makes enormous steps forward each month nowadays, why not use these plugins straight on a movie set to enhance the recorded material for a director / even before it reaches the editor ? Goyo, Acon, Waves Clarity Vx Pro, dx Revive - and other miracles - they all deliver glorious performance + some of us already own them. They offer so much more of of a comfort compared to limited number of recorder-based plugins. Which setup do you recommend to use them without introducing too much latency ? With SD 688, I was only able to reach 48ms of latency when used with FR Scarlett audio card - not good. Dante is a big thing now. Have som…
Last reply by Wyatt Tuzo, -
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Hey! Looking for a sold sound recordist for a cinematic master interview for a one-day shoot in near Wilmington, North Carolina in September. Anyone within driving range works! Will involve a lav and boom in a cradle. Most equipment most likely provided. Corporate gig so looking for professionalism on all levels. Please feel free to reach out to Josiah@StarrMedia.TV if you or anyone in your network is available. Email directly: josiah@starrmedia.tv Thank you!
Last reply by ElanorR,
