Workflow
discussions about workflow from production through post-production
737 topics in this forum
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- 1 follower
- 13 replies
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so I made the jump and got me a Nomad 12 for my bag. How do you guys with a Deva / Fusion on your cart and a Nomad (or other Zax-recorder) in your bag handle the workflow with the primary and / or mirror-card? When going from cart to bag: do you pull both cards to continue your recordings into the same primary folder? Would make sense. Post couldn´t even tell which machine you used. Pulling the primary card on a daily basis makes me bit nervous though. Just changing the mirror card doesn´t make sense really does it? The Nomad would start with Seg001 on it´s own primary card which would lead to double named files from two recorders?
Last reply by cstauffer, -
- 11 followers
- 94 replies
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Rado's recent RM-11 thread inspired me to share my own COS-11 mounting technique. It's become my go-to mount for most wardrobe choices, works well mounted on both clothing and skin, and (knock on wood) it's been consistently trouble-free for me. A-What I start with: 1-The wider top-stick toupee tape, cut into quarters. 2-Standard thickness moleskin, cut into base, and top layers, with top layer being a little wider than base. 3-Thick padded moleskin, cut into small "bumpers". B-The "pre-cuts" that I keep prepped in my "lav-be-good" bag. The top-stick stuck to the base layer, with the peel layer kept on until mic selection and color are decid…
Last reply by John Blankenship, -
- 3 followers
- 37 replies
- 5.9k views
I see a lot of people carry about the amount of mic preamps on XYZ mixer / recorder. Personally I use at least two mic preamps and the others are wireless (so the mic preamp is the transmitter). I see and read a huge amount of sound mixers to worry about "how many mic preamps have this". Curious to see the results. You must not be confused with "how many tracks".
Last reply by Jaymz, -
- 6 followers
- 77 replies
- 21.4k views
Hey Guys, Curious what people are using for your boom operators to listen on. Comtek? Lectro IFB? Zaxcom IFB? Hard wired? (duplex cable?) Boom box? Or maybe listen off the signal pre-recorder with a SD MM1?
Last reply by JesseKaplan, -
- 1 reply
- 980 views
Has anyone any experience of using SD cards with an adapter on a Fusion?
Last reply by Christopher Mills, -
- 2 followers
- 9 replies
- 2k views
normaly when using remix with my Zaxnet setup all TRXs play in sync together. Every now and then it happens that they are out of sync and I will get double sounds / echo. Had actors in a basement doing a scene where I had some minor drop outs. Wanted to remix but 3 out of 5 takes had a TRX being off by nearly 1sec. How long is a TRX holding stable TC without significant drift when NOT receiving TC over Zaxnet? Thanks, Matthias
Last reply by RadoStefanov, -
- 2 followers
- 68 replies
- 20.3k views
What are the advantages of setting wireless mikes to line level vs. mic when it comes to dialog scenes? My preference is to always set them to mic for any show where I am the main mixer. About 60% of the work I do is in reality TV and when I day-play for other reality shows that have their workflows already established, I've noticed that most of them have their mixers switched to line level for their wireless receivers. I am not one to disturb another show's audio workflow, and so I will mix the wireless mikes at line level for the whole day--No problem. However, what my ears tell me is that low level passages of dialog do sound very faint compared to when wireless mi…
Last reply by soundtrane, -
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- 10 replies
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For an upcoming job I've been asked to feed my mix to an iRig PRO (connected to an iPad) for reference. The iPad will be recording video and sound for reference and archival purposes. From what I've seen on the IK Multimedia website, it'll take a line-level signal. I'm planning on sending the feed via Comtek taped to the device (which will be housed in some sort of cradle.) Seems pretty straightforward, but I'll be grateful for any known pitfalls or insight you could share with me. TIA!
Last reply by Tom Duffy, -
- 1 follower
- 10 replies
- 1.6k views
Hey folks, At the last minute - DP switched frame rate to 59.94 interlace - for "that video look". What TC frame rate should I be using? 29.97 DF or NDF? - no one seems to know. Neither of them seem to be staying in sync. As for today ill be running scratch into cameras and removing TC from my recordings using wave agent- out of paranoia of them playing back the wrong speed in the edit. Any help would be appreciated thank you very much.
Last reply by Wandering Ear, -
- 4 replies
- 1.2k views
What's the practical usages for the A (avid), B (barebones), and C (faux) modes? I'm running X2 as master to Zaxcom IFb200 to ERX-2TCD feeding Alexa's and having some issues. Using 23.98nd-B with all set to 23.98 all around.
Last reply by Jobo, -
- 13 replies
- 2.2k views
Hello, this is my first post but I need some help. I'm on a shoot with a Canon c300 and I am using a lectrosonics srb wireless receiver for my hop. I get an email from the editor telling me that the audio sounds low/bad. I have been sending audio from my talents mic to bothe channels on the c300 camera. It seems that this is causing a cross phase problem. When you switch from sending audio to chanel one to bothe channels. You'll see the audio levels on the camera drop by half. Has anyone else had this problem?
Last reply by nourZX, -
- 3 followers
- 18 replies
- 4k views
This is the 1st part in an ongoing weekly series looking at the audio post production workflow. We have enlisted the help of top end professionals in their respective fields to walk us through what they do and sharing some tips and tricks along the way. The series will be based on TV drama in the UK and these days takes a lot from the film workflow but also a lot of what applies is very similar in other genres all be it not on as big a scale. Part 1 - Assistant Editor, preping sessions Part 2 - Assistant Editor, preping sessions Part 3 - Dialog Editor, setting up dialog sessions Part 4 - Dialog Editor, preping for ADR and finishing the dialog edit Part…
Last reply by Philip Perkins, -
- 17 replies
- 3.8k views
(Sorry for my english) I wonder what is the audio recording workflow on professional (for example hollywood) movies. I shoot only lowbudget amateur movies, so I dont know anything about it. I suppose every actor has hidden lavalier mic and tranmitter under his clothes and there is probably also a boom operator which records ambient sound and everything goes wirelessly into a some kind of a audio mixer and the recorded sound is then synced with the image in postproduction. Am I right? What kind of mics, wireless systems and recorders are industry standarts. Can somebody tell me more about this? Is there some article about this? Thanks for any information!
Last reply by Jon Gilbert, -
- 1 reply
- 1k views
I don't have done a project with high amount of production sound effects like rifle guns, explosions etc. I am always curious about the collaboration between production sound department and post production sound department for this. Not only for feature films, but also for television series which the time for editing, mixing etc it's more tight.
Last reply by Philip Perkins, -
- 3 followers
- 31 replies
- 3.8k views
recent critiques of my Mix track have knocked me down. Asst. Editors and Editors noting that the off-camera is unusable, meaning they have to go to ISO tracks to do "more work". I'm providing very good dialogue for the on-camera, sometimes letting the off-camera lie on an Iso so I can focus on the "on-camera". These are not overlapping dialogue situations. When did putting all dialogue, on or off-camera became the norm for the Mix track? It makes they're job easier to cut picture in I suppose, but the Sound Mix is subject to phasing mics, missed on-camera cues(especially when mixing 5-7 mics at a time) and 2nd Boom Issues (reflections on-camera, introduction of camera noi…
Last reply by studiomprd, -
- 2 followers
- 16 replies
- 3.3k views
Hello, I am trying to send a 1Khz tone to a Black Magic camera. It doesn't have a VU meter and all it has is a percentage "level" in the audio menu of the camera. Any thoughts of what would it be the equivalent of the 1Khz tone in the camera's percentage "VU"? Thanks
Last reply by chrisnewton, -
- 1 follower
- 20 replies
- 3.2k views
I've gone over the relevant threads, which were very helpful (and must publicly aknowledge Marc Wielage for his time on email and over the phone, helping me figure out this issue,) but I couldn't find an answer to this particular issue. I have an upcoming shoot that includes playback of a track, which a few 9-year olds (background) will lip-synch to. I've built a striped-timecode playback track, with the appropriate countdown beeps, by summing both stereo tracks into the L channel and TC on the R channel. Regular speed is 23.98 and we're shooting with an Alexa. They also requested a 60fps version and a 120fps version. I did the math and used a Pro Tools plug-in th…
Last reply by Blas Kisic, -
- 1 follower
- 44 replies
- 10.1k views
I've recently saw a tv show where the host used two lavaliers. I'm assuming that reason for this is having a backup microphone, right? Anyone used to this procedure?
Last reply by mikewest, -
- 2 followers
- 36 replies
- 6k views
Hi everyone. We are shooting a reality (cooking with challenges) TV show next week. I'm gathering all needed information, techniques, advices in order to make everything smooth. I'm assembling 9 soundmen. We are using PSC Promix6 and Azden FMX42 for the mixers, Sennheiser SK 3063 and EK 3241, G2's and G3's for the lavs and Sennheiser MKH 70, MKH 60 and ME66/K6 for the boom mics. We are shooting in the Philippines. It's a cooking/reality/challenge show. Challenges will include river rafting, ATV rides among others. There might be lot of running, following the contestants. We are wired directly to a Canon C300 camera. The producer doesn't want a separate recorder since it w…
Last reply by maniemjr, -
- 2 followers
- 8 replies
- 4.2k views
Just finished a Show for Arte which is about Food and Cooking, We were in different Kitchens in Europe, include the Kitchen of EU Parliament. I had some problem with the Chef Cloth, it's really dick, and most of them are also very noisy. I tried with Vampier Mount with VT500, some times works, some time not, Moll-skin did not work for me. Sometimes, I hear very a noise from the cloth it self (If i put the mike hired, it's there, but for sure it's not a sound of rubbing, if I put the Mic outside, it's much better). I am just wondering, the Show like "MasterChef", how did they mount their Mic? I would be happy and thankful for every tips and tricks. Thanks.
Last reply by Peter Mega, -
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- 9 replies
- 3.6k views
Um… this might go on a bit, anyways. I'd like to share the new AVID whitepaper on Digital Cinema Aquistition for discussion. It arrived yesterday and got me thinking about a few questions to put to the experts on the front line. My experience has been setting up workflow for films through Pre-Prod into Production and then completing Post Sound to delivery. A unique sound position, interfacing with Directors wants vs Producers needs, and all the R&D in between to streamline Camera Dept and Picture Editorial to Post Sound and Mix. This work has afforded me a huge respect for the Production Sound dept and I've been lucky to work with some of the best. The entire …
Last reply by syncsound, -
- 20 replies
- 2.7k views
Back Up & Sound Dept. Liability Back up of data - Methods and Best Practices have been thoroughly discussed – and will continue to evolve. We all know we want to do a great job, provide perfect, organized data and get called back again. But what happens if perfection isn’t achieved? This thread is not about Practices, hardware and uploading. All well covered. This is about the liability of the Sound Department and ultimately the Sound Mixer. What is the legal “hand over” moment? The passing of responsibility? Has this ever been tested with any kind of law? Today’s basic workflow: Record on pro recorder that has at least 2 media. Mid day an…
Last reply by studiomprd, -
- 29 replies
- 2.9k views
Hi, i' m on set now, in a 12 weeks HBO series. The other day, for the first time in my life, after 3 weeks of shooting, the DIT asked to me to do my own bkup, because they ( the house post prod that provides equipment and DIT on set ) cannot check every sound take, so the CF i provide them is just to sync for daylies ( even if they do 3 copies of all sound in different discs). So they say they're not responsables for the "healthy " of the sound i provide at the end of the day, because it's not all checked. Sometimes i copy the hd of my Cantar, because i want to have some nice atmos, or fx i recorded, but not for security reasons. Anyone has experienced the s…
Last reply by Michael Stahr, -
- 4 replies
- 1.1k views
Hello All, I'm likely doing a shoot where temperatures will drop beyond -40F. I have a Sound Devices 644 and Lectro 411/SM. I have worked in conditions of -30F but not colder. Has anyone been in this situation before? Did you have any issues? Did you use hand warmers or anything else to keep your gear warm? Thanks for any advice, Pablo
Last reply by Freeheel, -
- 6 replies
- 1.4k views
Hello, I originally posted this in Current and am reposting here in Workflow. I am working on a travel show that has me going all over the country only spending a day or two in one area. I am using four channels of WisyCom (470 - 640) wireless for talent, two Sennheiser G3 as hops (mono to two cameras), and Comtek 216's. With all of this wireless, I am trying to find the best practice to coordinate frequencies in multiple locations quickly and efficiently. For the first week out it was a lot of receiver scanning in local hotels the night before the shoot and adjusting accordingly on location the next day but I'm sure that I am not doing the right thing. …
Last reply by studiomprd,
