Workflow
discussions about workflow from production through post-production
718 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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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., -
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- 3 replies
- 467 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
- 23 replies
- 741 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 Bouke, -
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- 4 replies
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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, -
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- 4 replies
- 242 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, -
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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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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, -
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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
- 206 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, -
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- 10 replies
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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, -
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- 126 views
A client sent me a 45 minute interview that was opening up as 0:00 in Windows Media Player, Audacity and VLC, I popped it into Audition and it said "Metadata was found in the file but is corrupted and could not be read" so I grabbed wavfix dragged my wav onto the exe, it said: > Processing '****' | [w] Wrong RIFF size: 0000000000 B + 8 [file size: 0355004130 B;] | Current file structure : | ====================== | <fmt > chunk [offset: 0000000012; size: 0000000018 + 4 + 4;] | <data> chunk [offset: 0000000038; size: 0000000018 + 4 + 4;] | [NULL] chunk [offset: 0000000064; size: 0355004066 + 0 + 0;] | | [i] Checking <data&…
Last reply by Allen Rowand, -
- 2 followers
- 2 replies
- 138 views
Something went wrong.. timecode hasnt been recorded on camera, so I have to sync the Zoom f6 manually to the video files. Fortunately PluralEyes 3.5 is doing well syncing up the file BUT it imports my six channel audio as surround sound and export as surround as well. Which means, channels 3 and 4 are silent and instead there is part of it in the bass track number six. I tried to export as FCPx XML as well but it doesnt work at all. I get the video files in the xml but no audio at all, video is silent and there is no audio track. Does anyone know what to do? Is there a way to change the audio configuration from surround to 6 mono in plural eyes be…
Last reply by Sound, -
- 2 followers
- 2 replies
- 229 views
Pertaining to corporate and doc work(haven't done film in a while): AS most of my clients don't know what cedar is, nor do they have post that are aware of the new software, I'm trying to figure out a standard of how to use the new technology. Currently I've set up a bus with processing called "processed audio", or I've added the plugin to the master buss two both channels. Any thoughts on what a "standard" could be? I understand if post made this request, but at the moment I've not yet had one. Is there any reason other than client knowledge why we should be still recording a stereo master track? Say a two person on cam interview, With the 8 series we can make two …
Last reply by codyman, -
I would like to record audio on the zoom f6 using 32 bit audio, but we have to edit in avid later, which doesnt support 32bit natively. Avid Media Composer can link to 32bit files but when you consolidate or transcode you need to transcode to 24 bit. I was hoping I could dual record 24 and 32 bit in the zoom f6 and have 32bit as a backup which is possible BUT then there is no limiter available for 24 bit. So I was thinking: is it possible to record in 32 bit and find a reliable way to transcode the files to 24 bit later on? We are syncing audio and video via timecode using tentacle sync studio.
Last reply by Bouke, -
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A DOP friend asked me if there exists an audio equivalent of LUT for picture (Canon s-log,RAW etc.). I had to think about it. Are WAV files anologous (digilogous?) to camera RAW files? Out of my comfort zone.Comments?
Last reply by borjam, -
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- 332 views
Has anyone ever used LTC on a sound channel on an Arri shoot? Reason, for a custom project I've made something to destructively change the TC on .arx / .ari files. (And the wave files that come with it.) I'm currently building that into QT change (as well as BWF support), and I could also build it into LTC convert, but if no one will ever use it...
Last reply by nickreich, -
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- 4 replies
- 444 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
- 800 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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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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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, -
- 1 reply
- 441 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
- 669 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, -
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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,
