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Workflow
discussions about workflow from production through post-production
727 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, -
- 12 replies
- 984 views
I am an absolute beginner in the subject of sound recording. Please forgive me if my question is vague, I don't even know how to formulate it correctly. Please tell me, I record the sounds of nature, but I don't know anything at all about how to process them. On the Internet, there is mostly information related to music tracks, there is almost no information regarding the processing of recording sounds of nature and ambient. I have only heard that it is necessary to do compression and remove the electric hum that can get on the record from high-voltage towers. The purposes for which I need it at the moment is to create audio for sleep, study or meditation. In the …
Last reply by Rick Reineke, -
How to record the sounds of rain without extraneous noise and not to wet the equipment?
by Lilay Purple- 13 replies
- 505 views
Hello everyone. I'm new to this and the question is probably stupid, I didn't find anything like this by doing a forum search. Tell me, please, how to record the sounds of rain without extraneous noise and not to wet the equipment? I have heard recordings of rain sounds on the Internet that are clean and without extraneous noise, they sound fantastic. But when I try to record, I hear the sound of drops falling on the protective cover for the recorder or as drops hit the umbrella. If I record under the roof, I can hear the sound of drops on the roof or on the walls, microphones pick up all this very well. Thank you in advance for your help.
Last reply by Lilay Purple, -
- 36 replies
- 2.8k views
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 NoiseHead, -
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- 12 replies
- 759 views
Hi, is there any reason why any portable audio recorder from Sound Devices, Aaton, Zoom doesn't have the option to record at 50fps? Likewise, no sync box and TC slate that I looked at, there is no 50fps option. Quite often 50fps is required on the camera, but it is not possible to synchronize via timecode.
Last reply by Bash, -
- 7 replies
- 1.6k views
Hi, I'm about to work on a project that requires syncing the audio devices mix pre 10 to the Arri alexa mini LF. Question 1: Do I need a time code generator or will plugging the mix pre to the Arri be enough to sync up/jamm the time codes? Question 2 From what I read. Once synced they can stay in sync for 8 hours. If batteries are changed on the Arri or the mix pre. Do time codes need to be re synched? We will be using 2 cameras. Very new to time code and arri Any advice would help. Thank you so much!
Last reply by Larry Vaughn, -
- 2 replies
- 239 views
After maximising the gain in a sound file using adobe audition, I export it and put it in premiere pro. I check the gain levels of the same file and it’s peak amplitude is -7dB. Why does this discrepancy occur? I demonstrate this in the attached video. IMG_6298.MOV
Last reply by Rick Reineke, -
- 1 follower
- 0 replies
- 2.1k views
hello friends, i’m starting to expand my production sound skillset to include music playback on set and i was wondering what are some common issues, concerns, and general wants that those of you who deal with the post-side of things have. one thing i am really curious about understanding more is how timecode is used at your end. for example, if i receive the song file without timecode and then generate the TC file (love this online tool https://elteesee.pehrhovey.net) starting at 01:00:00:00, which makes perfect sense. do you generally want the start of the TC to align with the start of the song file (01:00:00:00 is at very head of the file, any silence and/or…
Last reply by mikebarber, -
- 2 followers
- 9 replies
- 793 views
Hey all, I have a scene coming up involving a character singing to the radio in a small convertible car, shot with the Russian Arm/Ultimate Arm. I will drop the bag in the backseat and am planning to ask the non-driving character to hit play on a small phone feeding an earwig. In case playback NEEDS to be triggered by someone not in the car, what can I do to ensure the cleanest signal for the earwig? I have not had good experiences with talent Tx in one car and my Rx in another car. I sometimes get decent range on the 216MHz comteks going to a follow van. However, I think it's important to have the earwig Tx in the picture car. So should I hop the …
Last reply by Mungo, -
- 1 follower
- 17 replies
- 759 views
How many receivers is too many in a bag before RF distro becomes necessary? My regular bag is two SRc receivers on whips. I find reception acceptable but not great. Am I screwed if I add two more SRc on whips for one scene? How much of a chance am I taking to run all four SRc receivers on whips in a bag? I would distribute the receivers on the outside of the bag in holsters (I have an old Petrol bag that lets me do this). I know I should ideally use RF distro to use two external antennae for all four receivers, but I'm having trouble justifying the added cost and complexity for one scene. In addition to Lectro receivers, I have Zaxnet Tx (2.4Ghz)…
Last reply by RunAndGun, -
- 2 followers
- 34 replies
- 18.1k views
Hi All! Inspired by Rado's and Atheismystic's RM11/ COS technique threads, I have decided to post my own Tram-50 technique. My technique is similar to the turtle clip accessory offered by Tram, but offers a lower profile and the ability to customize/adapt the cage. It also avoids the vampire clips that come with the Tram mic cage. This technique isolates clothing from rubbing the mic capsules head. In addition, this techique allows the mic to act as a boundary microphone of sorts. I find this improves the tonal qualites of the mic and to my ears, makes the sound of the mic less honky. It also picks up the resonation of the chest well. And now, wit…
Last reply by whatalob, -
- 1 follower
- 6 replies
- 505 views
Hello all, Does anyone know how to export an iXML file (if there is such a thing) from our wav files ? ( bwf file actually) An editor just told me he can import iXML file in Final Cut X and reconnect the metadata with my audio files that do not have notes yet in their metadata since he has the daily backup of a documentary (I write the notes and full sound report after the shoot on a documentary). I never heard of such a thing. Would be quite a great tool for workflow between prod and post if you could just import data like notes and track names, without changing anything else (like TC...). Thanks Fred
Last reply by Bouke, -
- 2 followers
- 16 replies
- 1.9k views
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 Simon B, -
- 25 replies
- 1.6k views
I am looking for an easy way to trim an audio file while keeping tc information. Lets say the file starts at 00:00:00 - I want to edit out the part from 00:10:14 to 00:10:60 and the starting tc of the new file should be 00:10:14. Is there an easy way to do it?
Last reply by NewEndian, -
- 2 followers
- 16 replies
- 2.6k 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, -
- 2 followers
- 32 replies
- 2.4k views
Hi, I am syncing video to audio via timecode using two ultrasync ones on a zoom f6 and a sony a7 III. Zoom f6 is set to output timecode to the USO and this transmits TC to the USO on the a7 III. Then I sync using tentacle sync and export as media files. Usually this works perfekt and I have done so for lots of shooting days and hours, but this time there is one clip in the middle of the shooting day with audio shifted from video about a minute or so.. In tentacle it shows as audio-TC found. All other files before and after this clip are in sync. Did anyone experience the same problem? I havent started or stopped audio recording…
Last reply by Vincent R., -
- 1 follower
- 3 replies
- 620 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 The Immoral Mr Teas, -
- 1 follower
- 4 replies
- 337 views
I worked on a spoken word playback video recently that had what seemed like odd timing issues with playback, and with myself doing the post i was able to correct. Trying to troubleshoot for future reference. Our workflow was: - spoken word poem was video recorded in a local recording studio with a u87 for that “studio look” on canon camera 29.97, sep tascam recorder was used for audio recording, 16b 48k and all was in sync when editor put both elements in premiere timeline - files were sent to me via omf export, i opened in pro tools in a 24bit 48k session, played out different clips with 4 click count header on each to a different tascam recorder,…
Last reply by osa, -
- 1 follower
- 4 replies
- 549 views
I just wrapped a film where the lead actor had to have an earwig at ALL TIMES. Not just shooting and rehearsals - they could not be on set without a fully functioning earwig that was tested and confirmed working. It was their security blanket just as much as it was needed to deliver lines. It was a very sensitive situation and everyone from the director, the actor, and their people were nervous about it. I thought this post might be helpful on the technical side of things to illustrate our workflow. We were more or less forced to use the Roger 2.4GHz system which ended up being fine with only 2-3 little range issues throughout the entire shoot. I had built a r…
Last reply by Wyatt Tuzo, -
- 1 reply
- 451 views
I must be getting something wrong, maybe its too early in the morning.. I am using tentacle sync studio to sync audio files (no video). Usually this has always worked in the software, but this time the timecode is detected correctly but the sync map is totally wrong. Nothing is synced. What am I doing wrong? Picture below.
Last reply by Sound, -
Hi guys I've been always struggling with my cheap H1 recorder's noise floor when recording nature and low spl sources, lately I worked on a method that gave me pretty good results, and wanted to share it with you and see if someone already tried it, if not I'll be glad to get your feedback. -Search for the quietest bedroom you can find, with a large closet with a lot of cloths. -Start the Rec on your H1 at 75 gain and put the recorder between layers of cloths, (Record 30 seconds, beware of cloth rustle) -Import the audio files to your DAW. -Use RX Spectral Denoiser to learn from the noise sample. -Select the clips and apply the noise reducti…
Last reply by TVPostSound, -
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- 55 replies
- 3.9k 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
- 6 replies
- 585 views
Let's say the protagonist is in the toilet hearing his parents fight in the living room, and we're shooting in an actual apartment. When recording these wildtracks of the fighting on set, apart from the close miking(lavs on parents and booming), would you also set up a mic or even mics in the toilet for the reflection?
Last reply by Philip Perkins, -
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- 1 follower
- 2 replies
- 394 views
Hi Everyone, I have what I hope is a simple technical question I was hoping to get assistance with. If I have a recorder in particular a Cantar mini running at 48.048khz sampling rate ( pull up work flow request ) and I have a mic pre amp with an AES output connected that does not have the pull up setting @ only 48khz ( i.e. Sonosax M2D2 ) are there any drawbacks to the AES signal. I'm hoping & assuming the M2D2 is receiving clock from the X3 by default via the AES signal, therefore the clock is resolved to 48.048khz and is therefore a non issue, or perhaps I'm missing something.
Last reply by Constantin, -
- 1 follower
- 10 replies
- 3k views
Hello. I have a question considering sync. A friend is about to shoot music video at 60fps , the final result is going to be 25 fps. They want to playback the music on the set, shoot at 60fps and the camera is not going to record sound. Will it sync with the music at post? What is a tested workflow for the shoot?
Last reply by Bouke,
