Workflow
discussions about workflow from production through post-production
721 topics in this forum
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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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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, -
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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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- 5 replies
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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, -
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Today, a client has asked me to do some research for a practical solution to sync one or more iPhone 12 Pros to a timecode enabled audio recorder for an upcoming double system shoot. In my particular case, that would be either my SD633 or MixPre 3II. Maximum of three inputs...two wireless lavs and a boom. I own four of the original Tentacles and have looked at the Ultrasync Blue app/hardware. I'm also looking at both the Mavis and Filmic Pro iPhone apps. If someone has sorted out a workable existing solution, I'd appreciate any feedback and experiences. Thanks! Dave Wendlinger San Francisco, CA
Last reply by nimra, -
- 2 followers
- 12 replies
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Does anyone know a fast way to batch extract a mono channel from a stereo wav file on macos while keeping the timecode? I just want to extract the left channel to a separate wav file with timecode. I tried ffworks and apple compressor. Both exported files have lost their timecode. The reason for this: I just tried the new Deity BP-Trx recorder. Unfortunately it records in stereo, even when you set the input to mono. When I sync in Tentacle sync studio after that, there are a lot of redundant audio tracks and i can even run out of track when converting to broadcast standard xdcamhd (which has only eight tracks in total).
Last reply by Constantin, -
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I am filling in on a movie next week and when I asked the DIT (who was my only contact) he said they are shooting Alexa XT at a true 24 fps. This always raises a flag and I replied that in the past there have been people who have specified 24 fps but what they really meant was 23.976 (you know the drill). Well, evidently I ruffled his feathers a bit, his reply to me: "If you run across a DIT who says 24fps and means 23.976, then he should turn in his wave form." I think my mistake was implying that it has been a DIT in the past that has made this mistake (which is not the case). So, I guess I set everything at 24 fps --- I actually have never done this before.
Last reply by Jim Rillie, -
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We are working with a RED Monstro and a BlackMagic PCC, timecode is being jammed to both,. This is not to sync audio but to sync the two cameras together. Both have project/base frame rate of 23.976, and our shooting rate is 29.976, to give a slight gliding/slow mo feel. When sycning both via timecode in Resolve, the cams have been off everyday so far, sometimes by 6 frames, sometimes 2 seconds and it drifts throughout the day. I was wondering if we're doing there's anyway to get TC spot on for both or if it's impossible because of the off speed shooting rate, and therefore it will always be off regardless that both cams have the exact same setting…
Last reply by Bouke, -
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- 8 replies
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Hi everyone, sometimes I am working with five analog audio transmitters at the same time. Its important to use a frequency band or channel group with only few interference (for example 21, 22 or 23) Until now I could use the app freqscan, to find the best channel group to use for all my lav mics in any given location https://www.irt.de/de/themengebiete/funksysteme/drahtlose-produktionstechnik But now, this app isnt available anymore. Is there any other app to find the best channel group for any place?? Regards
Last reply by Sound, -
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Last reply by karlw, -
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Hi y'all I'm planning some rather complicated vehicle SFX recording sessions and realized I'm going to need to use free running timecode on 4+ units. One of the issues I'm running into is I've never jammed an F8 via BNC to an MP6ii using HDMI mini. I'm not really sure what the workflow here is since I don't think you can get cabling that works this way. I'm not familiar enough with the timecode features, but I think you can have the MP6 follow an exteral timecode box via the TRS line in port of the recorder, but is it possible to jam the device that way? I don't want to go down the path of buying a lot of extra cables that I'm not sure will work or not, so any …
Last reply by kaipaquin, -
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Hi all, Since some (well, a lot) of you are responsible for Timecode: QT change has had a major update. It is no longer dependent on QuickTime being installed, and 64 bits (big sur / Catalina compatible.) And it now works also on Mp4 and BRAW files. Beside that, I've recently added an option to offload cards and set TC based on system time, but with a non-drop option. This was done per feature request from Top Gear USA. The logic behind it: They shoot 23,976, but have a couple of drones with no TC nor sound input. Thus the sound guy jams all cams, and the drones get their clocks set to the TC displayed at a given time. Example: Cams are jammed at…
Last reply by Bouke, -
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How many mixers actually try to mix their content? Over and over I have been told to just put the lavs on one track and the boom on the other. I would love to hear from those in Post Production too.
Last reply by haifai, -
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Hi all, I'm just starting out in the filmmaking world, so please forgive my lack of knowledge. I have no-budget film I'd like to make, and I'll be doing everything myself. I can't seem to wrap my head around the audio side of basic 2-actor coverage. That is, filming the over the shoulder shots, and the medium shot. Could someone break this down for me as though they're explaining it to a child? If I have the camera set up for an over the shoulder shot, and I'm booming the actors, am I booming both actors as they each speak? Or just one actor, and then the other actor when I do the reverse shot? And then for the medium or other shots? And then how should I pie…
Last reply by HarryR2, -
- 2 followers
- 17 replies
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Hello all. My friend and I are both lucky to study sound design at the Savannah College of Art and Design and we have access to a Fisher boom, apparently one of few out east. We've set up a time with our department to be able to practice this niche skill twice a week for 2.5 hours each day and are looking for suggestions on good exercises to help home technique! Any and all help is greatly appreciated!
Last reply by James Louis, -
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Hello, My ZaxConvert app stopped working. Running 10.13.6 (17G14042) High Sierra, Installed Lame 3.97 and Updated ZaxConvert v6.43 from 6.33. Recording on Nomad v8.01 When I extract the files It creates the folder but it does not extract the file. Any hints? Thanks
Last reply by Manel, -
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- 664 views
I'm interested in upgrading to a dante system and was wondering if anyone had any recommendations for certain dante workflows? How do you incorporate the system into your cart? Anyone using a remote setup running out to set? Pictures of setups maybe? Thanks so much!!! Steve
Last reply by S Harber, -
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- 3 replies
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For the ones that do / know about audio post: When I got back a mix from audio post (Few years ago, mixes came from ProTools), sound was always late by some 20 Msecs. Audio post told me this had to do with latency introduced due to processing. (I can remember from VERY long ago that a 'render' in PT was in fact a playback trough DSP's with simultaneous recording, can't imagine this is still the case...) But, fact is (well, was, question follows..) that sound was not proper in sync. (Don't bitch about 20 Msecs being no issue, that's not the point.) Question, is this still the case nowadays? Reason, I'm altering my LoudnessChange app. (It nowadays can do way m…
Last reply by Bouke, -
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A lot of you have this info from other sources but I found it interesting. https://www.nbcnews.com/pop-culture/movies/hollywood-s-covid-pandemic-disruption-storyline-desperately-needs-rewrite-n1235823 Best Regards, Larry Fisher
Last reply by PMC, -
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Hello, Working with media from some PDRs, inside the folder is the WAV file but also a number of other files named PDRSPACE. For offloading the media are these PDRSPACE files needed in addition to WAV file or are they just place holders (they take up 30 gigs of space)?
Last reply by DanieldH, -
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- 10 replies
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Hi guys, Working playback for music video. Production is very slow with details but have told me they will be doing a slow motion shot. I've read through the forums and found this: Wanted to make sure I prep the files correctly: -singer is from Colombia (probably shooting 23.978) -I have 10 min of LTC and the music track panned L and R respectively -will make a new music track that is shortened by 50% (assuming they will shoot at 48fps) -will also make a new LTC track that is shortened by 50% It was mentioned that I should keep the pitch correct for both files, but unsure how or why to do this. Any help would be super appreciated.
Last reply by IronFilm, -
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Hey all, Was just curious how everyone's workflow has been for this. Pretty much all the shoots I've been on recently have had client/agency on zoom, FaceTime, Skype, whatever. How are you guys feeding an audio signal to them? Trying to see if there is a better way than just sending an ifb signal out to the mic input of the laptop or phone they are using.
Last reply by PMC, -
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- 3 replies
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Hi! I’m doing sound for a theatre performance and wanted to hear people’s thoughts on an RF plan for the event. I have a couple ideas but was curious to hear others out. Only 3 of the performers will be mic’d, moving all over the 46ft x 46ft space. Location is exterior in downtown Vancouver. Performance is 30 minutes and will be performed 3 times during the day, unfortunately there won’t be any rehearsals at this location. I run a RF Venue diversity fin, and part of me thinks that keeping it simple would be just raising the diversity fin high up to cover the entire performance area. But being that we’re in close proximity to our more congested RF envi…
Last reply by Dave Pullmer, -
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Excuse me if I seem to be reinventing the wheel but I'm really just trying to confirm (after some research) some ideas I have about using timecode in a two camera shoot. It's for a longish-term gig that a few friends and I have been talking about that may, or may not, actually occur. Call it a labor of love. We have: 1) A timecode enabled recorder (okay, okay, it's a Zoom F6 but it's affordable and I own it.) 2) Two timecode enabled cameras, one a Canon C300 and one a Sony FS7. My idea is to have one Denecke JB-1 that I would just leave on, to act as a master clock, since I think that all of the other stuff's timecode clocks either stop or…
Last reply by PMC, -
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- 10 replies
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I've been asked very last minute (day before the shoot, which is tomorrow) if i was available to run playback for a music video shoot which involves a motion control system. From what i understand they would like a file that can be used for playback and also give TC reference as to what part of the song is playing to the motion control system. So if we start playback at 01:00:32:19 for example, the motion control system will know what to do. If I recorded the music file onto my SD702T, could that be used as playback? Will it send the TC from the file being played back? I know using a daw would be prefered. Having just been asked today could this be a viable solution?
Last reply by Bouke,
