Workflow
discussions about workflow from production through post-production
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- 35 replies
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This info has already been discussed with Charlie at Denecke and even he is stumped, so now I pose the question to you. I'll try to include all the info I can. I have on my cart a GR1 feeding a 744t and Boom Recorder. 744t is getting tc from te 1/8th inch output and Boom Recorder is getting tc from the Dsub output of the GR1. We are jamming 2-SBTs at the beginning of the day and at lunch, each feeding 2 REDS with the Mysterium X upgrade into the TC in and genlock in. Post says that the cameras are in frame accurate sync and ad TC is identical on both cameras. However my audio files from both the 744t and BR are out of sync by 2 frames, sometimes ahead and sometimes beh…
Last reply by MT Groove, -
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Hey gang, Quick version of this post: do you run mic or line level into a Red camera? The long version...had a rough day on set today - here goes my rant: Discovered after the day that audio sent to 2 Red cameras was distorted - not because it was clipping on the input of the cameras - it was "crunchy" in and of itself (peaks were in the -15 range, as far as I could tell from a quick glance of a final cut playback). I had sent tone to the cameras, got the thumbs up - listened on my end of the breakaways - seemed less than perfect, but only had a quick chance to check. (note, with my new rig, I do not have an easy way to listen to headphone returns - workin on th…
Last reply by greg sextro, -
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It seems some of you mix to mono while some mix to stereo depending on circumstances. In the event you're mixing to stereo, what are you putting on each channel? On ENG gigs it seems boom on one channel and the wireless mix to the other is common. But what about on features/reality shows/talk shows? What type of channel assignment practices are normal? Let's discuss.
Last reply by Brian, -
- 6 replies
- 1.3k views
I thought this would make an interesting discussion: When recording multiple talent on multiple wireless plus boom, mixing to either mono/split track "stereo" and or multi-tracking. What would be some advice from the seasoned pros about how to keep background sound even in order to allow post to cut as easily as possible between lav mics and boom. I worked on a film last year where there was a simple night exterior scene shot on a "quiet" street in Manhattan and later I sat with the sound editor and observed some problems she was having regarding the street noise. I suppose the ideal is to cover the scene in its entirety with one boom mic but when this is not pos…
Last reply by Jan McL, -
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Hello All, Yay, another Timecode Thread! First let me give you my typical TC workflow: On video shoots the past several years, its been my standard practice to connect Denecke SB-T (or similar) TC sync boxes on each camera, jammed from the TC output of my recorder, usually a Sound Devices 744t or 788t. If shooting with organized slating, I'll also jam a Denecke TS-C from the recorder's TC output, as a fail-safe, in the event that something fails on the SB-Ts (or if I somehow managed to set one of the SB-Ts wrong). In general, I've never had any calls from Post saying that the TC is off (I get the calls from time to time, but usually its an overzealous assistant e…
Last reply by Glen Trew, -
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Hi all, I am new to posting to this board but I have been reading it for quite some time. I’ve searched past posting and I am not quite sure if I have all the correct answers. So I have what may seem like stupid and basic questions regarding recording on the 5D. In the past I have always recorded sound directly into the camera. Now I have a job coming up in a few weeks where we will be using the 5D (I am being told it will have the latest firmware). Production will be renting me a sound devices 744t (which I have not used before – but I’ve looked at the manual on line and researched it and I believe I can figure it out). As of now production doesn’t know…
Last reply by Eric Toline, -
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Currently working on a 35mm feature running at 24fps. We are running 24fps 48khz on the sound devices 788T. Today we are shootng in a night club and are using 5D's. The 5D will be set to 24fps which I understand is actually 23.976fps. So the question is, what frame rate do we use? Carry on with 24 or match camera? We have 2 days with the 5D as we are filming in a live nightclub to get the big crowd scenes and we will be back next week with the 35mm to get the dialogue with the club fully under our control. However some of what we will shoot tonight will be used for sync sound. We will speak to the editor when we arrive at location as they will be there but as we a…
Last reply by Marc Wielage, -
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I'm working with te RED for the first time and am noticing a one second offset between what is seen on the RED monitor and my slates. Rejammed the SBT's and slates and still a one second offeset, roughly! Is this normal??
Last reply by Marc Wielage, -
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Hi there, Today i noticed a strange thing. i use my green lockit with a RED (build 30) on a regular basis to do double system sound. i ask cam ass. (or do it myself) to mark the "external sync" in the menu. connect my lockit. check for the yellow chain in top. and check if the tc is in sync. (when not in record its 1 sec off) but when in rec. the tc is sync. i check for this yellow chain and tc like 4 times a day. today i got some quicktimes from the shooting of yesterday with the question if i could hook up the sound. the quicktimes have very strange tc 1st take / file tc 15:45:12:03 to 15:47:23:22 2nd take / file tc 15:46:20:12 to 15:48:09:10 notic…
Last reply by Marc Wielage, -
- 14 replies
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OK, I 've only been working with clappers in the small bankrupt country I live in. I have read everything there is about timecode sync but am not sure how to actually do it. So say in a scenario of a single camera (say Sony Z7 which is common over here) and my Nagra VI. How do I sync the two devices? What kind of cable when Z7 is FW and Nagra Lemo. We know the framerate is 25 and I guess a free-run is what we need. Or do we?
Last reply by JDirckze, -
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I don't mean to make this look like an annoying Yahoo chat board, or use it as such, but perhaps some quick input from folks out there may fit this forum's function well. I'm a newbie here-- please go easy on me, and give me a heads up if I should buzz off. So, in a non-union environment (this is already sussed out in union environments) should an ENG/EFP sound recordist have to do DIT duties? I'm talking about being asked by cameramen and producers to take files from something like a P2 card, ingest the date into a laptop, and get the files onto a big drive of some sort. I'm also talking about being responsible for any on-camera accessory hard drives. …
Last reply by studiomprd, -
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Hello group. I need some help. Starting a RED shoot tomorrow. They are shooting at 24 (not 23.98) for a film out. Post is very clear on the 24 FPS, but not clear at all on what settings they want from me. My plan: record to 744T at 48K, 24 bit, timecode at 30 NDF, hardwire or wireless feed to camera (some steadicam work). Denecke timecode slate. I know this topic has been dealt with many times before, but I couldn't find a reference for "true" 24FPS. settings. Thanks, Chris Newton
Last reply by studiomprd, -
- 57 replies
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I think I am still missing something. I get that if there is a risk of the "green flash" or other internal camera confusion, then tri-level is recommended. Perhaps if there is some sort of live switcher being employed on set or on a tape show if the original tapes are being used to tape-edit the show (don't know if this is ever done anymore), that providing tri-level sync/genlock to multiple video cameras may be considered important. But in a narrative form, with current NLE systems, in what circumstance in the post process can an error occur if tri-level sync was not fed to the multiple cameras? Thinking of it like a multi-camera 35mm film shoot, with dailies and…
Last reply by studiomprd, -
- 12 replies
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Assuming no double-sound on this question, just single or multiple video camera shoot... With all of the various frame rates that video cameras can shoot at now, how does an ENG/EFP sound tech know what time code rate to set the camera to based on any given video frame rate? Do the cameras default set the code to the "proper" default rate relative to the video frame rate? Do I just run camera TC at 29.97 DF all the time, regardless of the video frame rate the shooter has selected? Examples : 30i, 30p, 60i, 60p, 24p. Does any edit system even care whether it sees DF of NDF anymore? In HD cameras, I presume there is no more NDF/DF issue. Or do I have this wro…
Last reply by Philip Perkins, -
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Assuming no double-sound in this question, just single or multi-camera video shoot with sound being recorded in cameras... Is there any reason I would want to set ANY video camera's sampling rate to 32K? 48K just seems to be the more common sampling rate for many types of sound recording gear. Is there some problem I could cause for post production by just SOP setting a video camera's audio sampling rate to 48K? Of course, everyone reading this is probably asking, "Are you talking analog or digital?" Well, both. If there's differences re: digital vs. analog, I seek answers to that as well. I'm still working in a strictly analog ENG/EFP world. The next can of …
Last reply by Marc Wielage, -
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Assuming no double-sound in this question, just multiple video cameras each recording sound... I've been doing ENG/EFP sound for 23 years and haven't "genlocked" a multi-camera shoot in over a decade. I recently picked up the Wolf Seeberg "24P For Sound And Video Assist", which was published in 2005, and am reading about all sorts of "green flashes" and missing frames in video if one doesn't "tri-level sync" all 24P cameras on a multi- camera shoot with either a Ambient or Denecke sync box. Can anyone tell me if I should REALLY be using such devices and practices on all multi-camera ENG/EFP shoots, and if so, why? What career-ending things will occur? I haven't rec…
Last reply by Marc Wielage, -
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Hey everyone, Im trying to use my 744t as a playback device so I can sync up with a time code slate and have the slate follow the 744t playback time. Thanks!
Last reply by Matt Mayer, -
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http://www.petapixel.com/2010/04/09/house-season-finale-filmed-entirely-with-canon-5d-mark-ii/ Sure would like to hear from someone in the sound dept. or post and enlighten us on how it all worked. Although Phillip Perkins does a good job of answering questions for working with the 5D! many thanks....cleve
Last reply by Chris R, -
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I am looking to convert what I have (location sound recording package) into something where I can do playback for music videos. ]I currently have a 003 that I dont really use anymore, and realized I need a mtc -> ltc converter box. I see a few around the $500 range, and also read somewhere that motu can be used. Would the MOTU MIDI TimepieceAV Interface work for this? How about the earlier model 'Motu midi timepiece II' ? I heard of another product called 'soundpool sync box', but I cant seem to find anyone that sells it. Final question is, are there better ways to do these types of gigs more efficiently that with pro tools? Thanks, Justin
Last reply by Philip Perkins, -
- 14 replies
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Most of my work is of the run-n-gun variety, and is centered around my 744t. My usual workflow was to record to the internal hard drive then dump the files to my laptop and burn a DVD. Well, Lappy has finally kicked the bucket and I'm finding current laptop models with firewire 400 are few and far between. I'm now thinking I should be looking for alternative methods of getting the files into my computer (or directly to post). I've considered using an external drive (I have a hard drive and could always get the XL-DVDRAM), but I'm nervous about those options since firewire connections don't lock and the whole rig would be bouncing around in a bag all day. I would, o…
Last reply by Peter Mega, -
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- 1k views
Hey all. Im currently working on a Doc series in which we are shooting on 2 Sony V1U cams. I am of course the only audio mixer with camera coverage all over the place in a hospital with lots of bg noise. Current workflow is 552 mixer recording backup with internal clock set at TOD as close to cams a possible. Of course no sync boxes in the budget or even considered by production. Feeding A camera via Zaxcom wireless hop, and B camera via Comtek reference track on CH 1 and a 416 on CH 2. We are trying to get clap slates where we can, but a stubborn camera operator does not want to waste tape rolling on nothing so he cuts camera and screws up sync. Any …
Last reply by Rob Lewis, -
- 9 replies
- 1.9k views
I don't have a sync box I will be doing some simple RED Camera interviews later in the week Can I set the RED Camera up to Rec Run to my 744t as long as it is always hooked up to it? The Company wants the Camera to be master timecode.
Last reply by ProSound, -
- 15 replies
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I'm trying to wrap my head around this idea I had... whether GPS time sync could be a possible solution to free us all from jamming, cables, frame rates and drift headaches. Could GPS time become the universal time stamp we all use to synchronize all of our audio and video devices -- anywhere, anyplace, as kind of a universal GENLOCK? Think about it... tiny little GPS receivers either built-in to recorders/cameras or added on as simple low cost accessories. I read that the accuracy of GPS time is in the order of +/- 0.1 second. If it could transmit TOD in nanoseconds, then wouldn't it be possible to interpolate any given frame rate sync derived from it? I a…
Last reply by DBurnette, -
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Has anyone supplied MS Stereo for a FCP edit and know how the workflow was handled in FCP to take advantage of variable stereo width please? I'd like to supply MS but a google of FCP with MS has not revealed any clear cut way of working. thanks.........
Last reply by studiomprd, -
- 0 replies
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Hi jwsound menbers. i have a gig starting monday. so now testing time. can you please sent me a howto in using the al-601 on the sik2? i called the sound recordist who worked with this setup last week and found out they ended up using a clapper board last week monday i start my gig and i did't have time to check and test the setup the si k2 must be in free run right? (where do you set this) and after cam changes battery do i need to lock again? does the sik2 must be turned of before connecting the al-601? thanks so much for any tips and save the editors some time cheers martijn
Last reply by martijn scholte,