Workflow
discussions about workflow from production through post-production
736 topics in this forum
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- 35 replies
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I'm relatively new to recording digital at such high sampling rates. Whereas I can fully grasp and understand why 24bit is advantageous, I've yet to be fully convinced that recording over 48kHz yields any better recording, especially if I'm using mics that top out at 20kHz and am recording voice. So what are the reasons to choose 88.2, 96 or 192 sampling rates?
Last reply by RadoStefanov, -
- 16 replies
- 2.2k views
Hello all, I have moved this post from "General Discussion / 24 hour TC 788T" because I was not getting any answers and because I think this topic is more related to the "Workflow" theme. Could anyone please point out some criteria for selecting time code modes in productions where TC is NOT synced ? I usually work with Rec Run with my 788T, but then again I have never mixed for a long production. I assume some issues might have to do with repeated TC values causing problems in FCP / Avid, or simply going against editors´ work methods. Or issues having to do with retrieving material from shootings lasting several weeks where one ends up with thousands of files. …
Last reply by Marc Wielage, -
- 18 replies
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Some of the scenes are fast walking from room to room and in the laboratory. Going down steps. Can not put my finger on it... It seams hard boom and lav work. I have never seen so much moving camera in TV. Also the background FXs are always great quality and quantity. A lot of room sound.
Last reply by Scott Smith, -
- 18 replies
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I am working on a short film which is being shot next week on RED inColombia. I am doing the sound post and am coordinating with the soundrecordist they have hired for the production. Regarding the audio workflow with the RED I have a few questions and was hoping some of you might have some useful input. First of all, I have spoken to the DOP and he says they will beshooting at 25fps. As the whole post for the film will be done in theUK, it is safe to say they will be editing at 25fps and so it shouldstay at that framerate all the way to final delivery (unless they wanta 35mm print but I'll worry about that if it ever happens). I have heard some rumours saying th…
Last reply by Philip Perkins, -
- 39 replies
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I have been on a show for several years and am finally able to change things a little. (What follows is no April Fool's joke, okay??) I have been using a Deva II and a DAT machine. There. I said it. It is what the telecine people wanted and it has kept me employed for 5 years. But I'm moving on. I'm going to be using a 744T, (since they still want only ONE track the 788T seemed to be overkill for this show.) But I'm retiring the DAT. Done, thanks, and farewell. This will really make all of the 2nd unit mixers happy since they have had to scramble to find one that works. But the telecine dept. still wants some kind of backup for dailies transfer. I thi…
Last reply by studiomprd, -
- 5 replies
- 4.2k views
So I did a film (shot on film) last year and recorded at 30 NDF 48/24 on a Fostex PD-6. The editor just send me an email because he was having a syncing issue, and basically he just realized: "You recorded at 30 frames non-drop, but all the footage from [post house] is at 23.98 fps."His digital files of the film just have the first two tracks, and he wanted to get at the others. What's the best way to batch convert a lot of wave files? I know Wave Agent lets you change the frame rate, but is that just the meta tag or the actual frame rate? I recorded the files on a PD-6 so nothing actually shows up under "frame rate" in Wave Agent, which is what makes me think it's a meta…
Last reply by RadoStefanov, -
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- 6 replies
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I have a possible shoot coming up where we need to record a choir singing but apparently in time to a pre recorded track. Our plan was to play back the track a few times to the choir over speakers to get them used to the timing and to knock off some shots. Then we need to get some good clean takes of the choir singing the track. What is the best way to make this work? We were planning on playing back the track to the conductor and a few key personel on headphones or IEM's and then get them to lead the choir through the number.. I am not sure of the size of the group but could be 50 people or more. I dont have enough details yet but would be interested in how people h…
Last reply by jonathan chiles, -
- 4 replies
- 991 views
Hi all. I did a recording on a 744T v2.65 that was synced to the film transfer via a Fostex DV 40. The timecode, as reported by editorial, was not identical to the wav file time code i sent them........ in fact, timecode would jump by several hours in the middle of a take. I played back the recordings and all seemed well..... I also imported the files into FCP and timecode was accurate. The dude at editorial said that he had a previous TC problem with v2.65 and his Fostex. I'll contact SD and see if they have any intel on this...... anyone else have a similar problem with Fostex DV40 and SD WAV files?....... Thx
Last reply by Marc Wielage, -
- 9 replies
- 1.4k views
The gear I presently use is an SD302 in a bag with an R-09HR. Also, I sold my SD442 and have just gotten the SD552. Most of the work I get can be handled by the 302 or if I need to feed more than one camera or have more than three inputs, the 552. I also have an HD-P2. I am thinking of buying a 744T so that I can up the tracks I can record and to add the ability to generate time code. I have had the opportunity to work from a cart with a boom operator. This was a multiple Red camera shoot; double system using borrowed timecode generators to sync the cameras and the HD-P2. I fed the main Red a scratch track from the SD mixer and recorded to the HD-P2. I know I ca…
Last reply by Robert Buncher, -
- 5 replies
- 2.4k views
Hi all, I've been having a discussion with the post production mixer who mixes all of the shows that I work on, and was hoping people here may be able to help shed some light on a few things. I was sitting in on a mix today, and was checking out the dialogue processing chain in Pro Tools, in particular, the EQ on the dialogue bus. I noticed that the he had a LF rolloff at around 90Hz, and a boost around 3-5kHz. I explained to him that in the field, I typically have the LF rolloff on my Lectro Tx at 75Hz to help reduce line transmission from the cable and clothing noise, and further to that, if there is a lot of wind, I will have the HPF on my mixer engaged at …
Last reply by JDirckze, -
- 1 follower
- 49 replies
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Hi Guys, It's looks like I'm gonna be doing a weight loss reality show. I have a SD 442, at most I will be running four wires. It's a one camera show for the most part, except for bigger days, they might bring out another camera. They are thinking about multi-tracking this year. I've suggested the 788 but I think I can get away with it on a 744. What are your thoughts? On the 744 can a make a stereo mix and do four ISO tracks? I would be using a denecke SB3 into the camera. Should I run it 24hr free run? I will also be tied to the camera giving it a stereo mix. Any advice you can give me or anything I might be missing would help. Thanks guys.
Last reply by Marc Wielage, -
- 11 replies
- 4.4k views
I'm sure this is not the best solution, but I've heard some people record TC in an Audio track when there is no access to a recorded with a dedicated TC input. How do you use this track to sync the other audio files to picture? What is the approximate level of this signal (line, mic, something in between)? Thanks for your input on this., at the moment I don't own a TC recorder so I'm considering all the options available. Regards, Andres.
Last reply by Philip Perkins, -
- 8 replies
- 1.5k views
I just started working on an indie feature working with 2 REDs. The editor is on site and is syncing audio and providing dailies so I get a first hand look at how everything is working out. I'm using the PD-6 to jam a TS-C slate and 2 SB-3 boxes attaching them to the Reds. The PD-6, Slate and Sync Boxes are set to 23.976. When the editor receive my files and the transcoded RED files, it takes less than 2 minutes to sync the whole days audio. There is a 1 frame offset between the audio and video. You simply set the offset in Sync N Link and that is taken care of. Sync N Link is awesome IMO. A few observations: Even if I set the clock on the PD-6 to "Free,…
Last reply by MT Groove, -
- 1 reply
- 708 views
Just a question I can't seem to get the PDF sound report generatered from "WAVE AGENT" onto the DVD ram disc. I'm using a SD 702T and WAVE AGENT. I am also using a windows laptop with USB to the DVD ram. Since the disc is formatted in FAT 32 the computer see's it as a 4.7 gig HD, but I still can't drag and drop the PDF. what am I doing wrong ? Thanks GReg
Last reply by Philip Perkins, -
- 16 replies
- 2.1k views
a comment in the Backup thread (and one in the Equipment topics) lead me to ask... there were some insinuations that only five seconds of hardware (built in) preroll is not enough... considering that we struggled to get closer to 10 seconds of manual pre-roll for our TC Nagra's and DAT's, it might seem that 5 seconds is not enough, but if we are doing our jobs, there is almost certainly several seconds of manual preroll before the action actually starts, and with today's workflows the combination of manual and automatic prerolls should more than cover anything except our own failure to roll before announcing "speed", right... OK, discuss...
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Last reply by RPSharman, -
- 1 follower
- 33 replies
- 3.4k views
I've been thinking of a cart reconfigure and have been debating on whether or not a complete backup of my ISO/Mix disc is necessary. I know some mixers that do a complete backup, and some who do mix only. I currently go the ISO/Mix and Mix only backup/telecine route. How do you roll?
Last reply by Marc Wielage, -
- 5 replies
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I'm working on a project right now and we've used a few different audio recorders for the dialogue: Apple MacBook, MiniDisc and most recently the Zoom H4n. The latter of these three produces phenomenal results. Almost too phenomenal. The issue is that the film is shot on Super-8mm and digitally mastered to HD. This produces a look that is not disimilar to the old style film look that you might find in classics like The Good, The Bad and the Ugly. It's a very rugged and raw film look. Works quite well. The issue, is that this rugged image does not compliment the pristine clarity of the Zoom. I'm wondering if there are any good filters/plugins for Logic Studio that can crea…
Last reply by Marc Wielage, -
- 3 replies
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Just read the article that Marc wrote in the latest Coffey Sound "Sound Files" magazine Very nice job Marc. Very enlightening. All good info. Thank you very much for your contributions, keep them coming.
Last reply by Marc Wielage, -
- 7 replies
- 1.9k views
Time sure does fly ..... I now realize that it has been YEARS since I've sat in a telecine session, or any post situation whatsoever. I mix and mix and send off shiny disks, and generally wait until I get to see and hear things on some sort of screen sometime / someday. I have been blessed with a past history of field recording and post involvement in the early years of my career as a staff mixer / recordist / postee in two situations, but I've been freelance for quite awhile now, and it has distanced me from hands-on post work. Since the advent of Time Code, Pre-Roll was a significant concern - less than 5 secs of usable code was a violation! Since my first D…
Last reply by Marc Wielage, -
- 7 replies
- 1.1k views
Ok, I have never had this problem before but I was doing a simple sit down interview with a southern man. The workflow was Cmit 5U into a SD 788T via xlr, And B6 on 400A to 411A. At points when the man started speaking at a higher level like at the beginning of a sentence or got excited, his voice would distort. But the levels on the 788T got no where even near the limiter, or they got to about -8 or -6 db. The same problem was NOT occurring with other people with no such accent. Any ideas?? Thanks, Np
Last reply by Npoberaj, -
- 28 replies
- 4.1k views
I was asked to work as a Location Sound Mixer for a reality show and they will be providing me with all the equipment. I have a question. There will be 8 wireless mics running into a mixer and then going recorded into a recorder. My question is do you think its fine to use a standard recorder such as a Zoom H4 or should I have them rent something else. Any thoughts? At this point I can't record to a computer or laptop so it has to be hardware pieces. I don't have a problem with mixing the audio and sending it to the recorder. But my concern is the audio getting all garbled up if one person is talking while the other is talking. Its a reality show so you know how things…
Last reply by chrisnewton, -
- 13 replies
- 1.9k views
so I got a gig for a tv dcumentary series where I do the production recording, but also deliver the mixed and cleaned up audio to the editor. And so I did, only to find out that she can't import the audio to the Avid project. After some troublesome trials she found the problem to be that I delivered 24 bit audio (48KHz) but because the DV video material uses 16bit audio - even though none of that is kept - avid won't accept 24bit material. Please excuse my ignorance, but is that so?
Last reply by whatalob, -
- 18 replies
- 3.3k views
Hi everyone, I've recorded a movie on a Cantar X2, and my monophonic filenames are short (BA1234_1.WAV, BA1234_2.WAV....) For post, I want long filenames that include scene/take info (like BA1234==123A 12R w14==_1.wav). The Majax manual says: By extracting the Sc&Tk from within the BWF files Majax can add them into the filenames going to the post-chain. How does one accomplish rendering these filenames? I've tried every single option in Majax at least twice (and I've read every single page that google returns when inquired about iXML, Cantar, filenames, workflow or any combination thereof with no luck......) Additional question: Can those monophonic…
Last reply by soundtrane, -
- 39 replies
- 5.2k views
For those who have done a lot of Red shoots, what do you consider the best way to handle time code? I'm running a Deva II recorder with a Tascam HD-P2 as backup (or in case the client needs a CompactFlash card instead of a FAT16 DVD-RAM). I don't have tri-level sync or a lockit box, but the question is about handling time code when using only one camera. Comtek, G2, or Lectro INTO the Red camera sending time code from the Deva? Comtek, G2, or Lectro FROM the Red camera sending time code into the Deva? Jamming INTO the Red? Jamming FROM the Red? A side note: I find that the Tascam won't jam properly to the Deva if both the Deva and the Tascam are set to 23.…
Last reply by Philip Perkins, -
- 1 follower
- 6 replies
- 1.4k views
I've got a three camera shoot (two person sit down interview) coming up and need to get ready. We're recording sound to the cameras. This is the info I have so far but it may change since I've gone from talking to the production manager to the DP and am awaiting some answers. One camera just needs a mono reference track and I'm assuming it will be a wide two shot. The camera shooting the interviewee will need discrete lav/ boom channels, and the camera on the interviewer will have a discrete lav only track. I also have to do transcription w/timcode on a digital recorder. So if the track assignments remain the way I've described them, what is my best plan to provide …
Last reply by mikewest,
