Workflow
discussions about workflow from production through post-production
737 topics in this forum
-
- 1 reply
- 1.1k views
Question about the panasonic AJ-Px270. I am shooting with it week and I was wondering if it will jam to 23.98 or is it like most panasonic cameras and do I need to feed it 29.97 like the hdx-900?
Last reply by John Blankenship, -
- 3 followers
- 216 replies
- 19k views
posted by fellow sound mixer Frank Kruse on the avid forum (see the link for detailed information): Hi, I've finally found the time to trace an issue we've encountered for years now but that we always manually "fixed". Conformed original BWAVs are out of sync by up to a frame compared to the AAF. Here's the normal workflow: -Production sound recorded on Cantar, Deva, SD788 etc. Direct import into AVID MC converts to MXF audio. -Copy all AVID audio media to PT and transfer cut via referenced AAF -Expand to tracks using original BWAVs from production recorded. So far so good. When listening to the conformed tracks against the AAF there are random syn…
Last reply by Wandering Ear, -
- 3 followers
- 24 replies
- 2.9k views
hello, quick question, I'm working a couple of days pickups on a feature - have been told that the mix handed in for dailies is split tracks boom L, wires R, isos to be recorded too. Just to clarify I mix as normal - i.e. listen in mono and create a mix as if handing in a straight mono mix, and if I don't use wires then the wire track has nothing.. or is it expected that I'm delivering the wires no matter what on the wireless track even if boom track best..? thanks for your help in advance. Best J
Last reply by studiomprd, -
- 5 replies
- 1.3k views
every now and then I transfer some files from a Zaxcom TRX to my computer using Zaxconvert. Since I just wanna hand over the takes and not all the (private) stuff inbetween I need to edit the files. So far I just use audacity which ignores the TC. I am looking for a solution to edit the files to my liking and have files that still have the camera-matching TC. Is that possible without one of the expensive programms? Thanks, Matthias
Last reply by Matthias Richter, -
- 1 follower
- 1 reply
- 1.3k views
http://tyfordaudiovideo.blogspot.com/2014/06/handy-phone-recording-rig-improves.html Regards, Ty Ford
Last reply by Jay Rose, -
- 1 follower
- 15 replies
- 2.7k views
So I find there to be an issue that keeps popping up for me, keen to see if i'm alone. I started a post here on this some time ago, but there was little feedback. I have also written to the mothership, but after a month, no reply. So i’ll put it here again, see what bites. I guess i’ll start with a question. Is there a menu option to change the way tracks are numbered, based on whether or not the mix tracks are recorded, or just the iso tracks? Why do I ask this? I’ve been in reality tv for a few years now, and record using a 788T. I love it, wouldn’t change a thing. My workflow, and often a request from post, is to never record a mix track to the HDD, but send a mix/…
Last reply by CraigF, -
- 27 replies
- 5.4k views
I was on a commercial shoot last week with an Alexa and the DIT on the job insisted that he strongly preferred record run TC on the Alexa saying it made it easier for him to check if any footage was missing after copying the cards. I let this go as there was no dialogue to record only atmos and fx and the camera ended up rolling at 100fps most of the time. Obviously producers should be consulted and post as well, but my inclination especially with the Alexa is to insist that audio and camera TC are jammed. I understand the DIT's reasoning but it seems that all other DIT's I have ever worked with dont lose footage and the camera runs TOD TC.. Anyone else come across t…
Last reply by pindrop, -
- 1 follower
- 8 replies
- 1.7k views
Hi im recording a short doco about music inspired by buena vista social club most of the scenes are interviews following musical parts its a big project and i never did a production double system before, im more a music engineer whats the workflow that you recommend it? recording everything to pro tools with a mixer and ad? how can i sync everything to the camera? Thanx
Last reply by Jay Rose, -
- 8 replies
- 1.6k views
Hello, I am doing a shoot with a Black Magic 4K camera. I am recording sound separately on SD633 and I am in doubt of which time code setting to use: 23,97? 24? The shoot will be edited on a FCP. thanks
Last reply by Philip Perkins, -
- 8 replies
- 2.2k views
Hi all I know many of you use Movieslate as your sound report creator. I'm looking into it, but i like the option of using Cl-wifi to control and input metadata directly into the 788t and then exporting the CVS file for Movieslate to create the report. How are you guys doing this on location? The help menu of MS talks only about the option of emailing the file back and forth. Firstly that seems silly because what if I don't have internet on location? And assuming i'll have internet, how do i get the CVS file out of the 788t? If i have to use a computer for that, i rather use WaveAgent. Any ideas, solutions, apps? I guess all this will be solved with Ambient's Tonemai…
Last reply by cmgoodin, -
- 4 followers
- 20 replies
- 2.8k views
Hello everyone, First post here, but have lurked for quite some time. My name is Christopher Reig. I am an on-set post guy who does dailies (short and sweet). I have recently come across an interesting challenge for a workflow, and have found myself hitting a brick wall in my research, so on advice of a sound recordist colleague, am asking here. On most shows I work on, we usually use a mix track in a poly BWF for our dailies deliverables. However for this show, the sound recordist is unable to a mix track, so we will receive individual ISO tracks only. I discussed why I feel we require one, and they certainly did agree it makes sense, but they were adamant that t…
Last reply by cjreig, -
- 1 follower
- 5 replies
- 2.2k views
Hi , working with a Sony F3 tomorrow and while setting up I noticed something about the gains... I'm outputting at -10 from the 633 outputs to the SMVs. Doing the usual routine with the rxs: levelling up the gain til the -10 green LED lights up then go down one step. On the SRb side, mounted on the cam , I use Line levels on the cam inputs (manual), outputting to +5 from the SRb. Adjusting the levels to -20 on the camera from the SRb's tone (1KHz). Now the funny part: when I send a tone from the 633 after setting it all up this way, the cam levels are at -30. I'd have to boost the gain from 26-28 to something around 38 on the SMVs now to modulate at -20 on …
Last reply by benvdp, -
- 5 replies
- 1.6k views
Hi everyone On my cart I use a 788t and love it, but i was getting tired of carrying so much wait around when all i needed was 2-3 tracks for small jobs. Now I have a Sonosax MiniR82 for those jobs and sounds great. One thing is that it creates sequential file names, noting to do with metadata. I do prefer to give production files that are named after the scene and take, like in the case of the sound devices recorders. I found a workaround for it, by uploading the files to my computer and renaming them with WaveAgent. It works great and it's very quick, but it means I also have to carry my computer. Does any one does this and know an app for either android or iOS that …
Last reply by Philip Perkins, -
Sound Tents... 1 2
by iMix- 2 followers
- 37 replies
- 4.7k views
Not sure where to post this in the forum, but does anyone use a great pop up enclosed sound tent? I'm about to buy the Village Blackout tent, like most the DIT's use...its super easy to setup/takedown with one person, is fully enclosed, and protects the gear from harsh elements. They are built do blackout (not really needed for me), but are also very tough and resilient. Just curious if there are other options out there to consider before dropping $1500 for a tent...
Last reply by Malcolm Davies Amps CAS, -
- 2 followers
- 11 replies
- 2.3k views
I'm filming tomorrow with a BMCC. I plan on sending scratch track to it. I remember reading somewhere on the forum about settings from zaxcom erx to camera. I tried to search with no good results.. If i recall corectly there is still no meters on incoming audio so it s a bit of a gamble to setup. Anybody with experience with this would like to share his/her settings. I got this cabling a my local music store for 10$. At least that s cheaper than the usual 100$ tc+audio custom erx cables... Thanks Dominique
Last reply by dominiquegreffard, -
- 4 replies
- 1.5k views
Dear colleages, I would like to shortly discuss an R4 workflow idea with you. Sometimes I do these ENG straight to camera gigs. I use a cooper cs104 mixer to mix straight to camera (Allthough I use the camera as a 2-channel iso track recorder). And I use the R4 as a back up recorder. My idea is to make a multi cable for the R4 which carries 2 outputs and a return to the camera and maybe a video signal. This way I can skip the cs104 mixer (and loose some weight in the bag). The R4 has outputs and return on mini xlr. Only drawback I see now is that it is not possible to fade to zero with the channel gain and that the recorder doesnt have a -20 testtone. The testto…
Last reply by Dennis Kersten, -
- 1 follower
- 4 replies
- 1.4k views
I get great results laving guys during AFL games from a sound perspective, but worry I'm not fully protecting gear. I'd love to hear from any NFL films guys on game day procedures for micing players with Zaxcom systems. Mic bras, etc. Any other input always welcome. Thanks in advance.
Last reply by studiomprd, -
- 2 followers
- 15 replies
- 2.2k views
I have started describing my cart (utility) as The Wiring Cart. Started saying this over walkie "please have the talent report to the wiring cart to be wired for the scene" Amazingly swiftly, this has caught on with the AD and set PA crew. No more "Can you wire these guys in their trailer/chair near set/video village/actual set?" And I hear the chatter adopting the term right away. YMMV, but I am at least claiming to have originated the term. Cheers! CM
Last reply by studiomprd, -
- 14 replies
- 2k views
So, this may be a noobish question (though I am not a noob), but considering I have friends that use wireless systems and don't scan at all ever, maybe I'm ahead of the game. So, when scanning in a new location, would you actually stand, with the receiver, at the spot where you plan to plant it, and scan THERE? Or where the transmitter will be? Or both? I realize RF may not always be that localized, but can it be? Very simple example: you're going to shoot a presenter in a hotel ballroom. Do you scan where the receiver will actually sit (probably near the camera), or at the stage/lectern, both, etc.? Thanks.
Last reply by Jared Detsikas, -
- 10 replies
- 2.2k views
I don't know if I have this in the right section, but I will do it here and see what happens. I am an audio engineer and have a project coming up where I need to lock my audio gear to time of day TC. I am using a protools HDX system with a Sync HD. It is currently hooked to a big ben for my word clock source and I am planning on running my session at 96/32. I will resample to 48/24 after post and give it to the video guy. If I take LTC in from the time of day generator from video world, do I also need to take in his clock source? All I really need is to be locked to his time code instead of what I normally internally generate. Do I need his video positiona…
Last reply by ccsnd, -
- 17 replies
- 2.5k views
Hi, I am new to all this and I have a question on how to set up my gear. I have spent hours going in circles, and your knowledge and advice would be greatly appreciated. I just purchased a second hand Sound Devices 442 and need some guidance. I have a Sound Devices 442 and want to connect up two Sennheiser G2 (or G3) wireless microphones as an input, and the output to a Panasonic HMC150 video camera. What settings would you recommend for the G2 and the 442? Also how would you suggest I set up the 442 and the video camera (eg limiter settings etc). I look forward to your replies.
Last reply by JonG, -
- 3 replies
- 986 views
Have a shoot this weekend and they want scratch audio to a Sony EX3. I've never used a comtek as a hop, but this looks like the best option for this shoot. Will an unbalanced 3.5mm to XLR M work as expected from the PR-216 to the EX3?
Last reply by fieldmixer, -
- 5 replies
- 1.5k views
Hello everyone! I'm back with a few questions about sound carts specifically on sound stages. First off, I am setting up a sound stage cart and I would like to find out and see how other professionals take care of their carts and where they stow them in the stage, how often they do maintenance, etc. etc. So, would any of you be able to help me out and give a brief description of your cart and where you store it and if there are particulars to look out for like how you air-tight enclose it while construction is going on in the stage for a new set, etc. ? I'm looking for specifically where you stow it after shoots, Do you have a climate controlled space? …
Last reply by afewmoreyears, -
- 1 follower
- 12 replies
- 4.3k views
Did a gig yday where i realized after the day started that the camera had an external recorder on it. And that the timecode on camera did not represent what was actually recorded so video tc was way off my audio tc. It was no biggie since we had good scatch audio on camera and we used my tc slate but it could have been easily avoided.. It was a pretty stupid mistake from my part and i warn other mixers to double check what media is recording. I m gonna get all senatorized on this one but i don t care. I wanna share my experience and warn mixers to double check before starting to roll what media end up being used. Merry christmas y'all!
Last reply by Marc Wielage, -
- 1 follower
- 52 replies
- 8.1k views
I hesitate to even bring this up, but this recent conversation on the RedUser Group was so sad and funny, I wanted to share it here: http://www.reduser.net/forum/showthread.php?109349-Why-is-sound-still-like-this The short version of the story (50 messages and climbing) is the guy asks: Coming out of a big production with two and three cameras for every scene I'm now drowning in the complexity of editing. Now I'm wondering why there still isn't a good option for working with sound. Why isn't cameras able to include good audio handling? Enable a large quantity of audio tracks and a high fidelity? The audio professionals on set are still recording to an exte…
Last reply by mikewest,