Workflow
discussions about workflow from production through post-production
737 topics in this forum
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Dear All, The sound editor that I am working with -- blazing a trail using PT 7.2 and FCP while gearing up for PT 7.3... This first week went surprisingly smooth, our sound editor "Brilliant" never worked with PT 7.2 is amazed and thrilled and very happy with the new found control of the iso tracks and automation that PT 7.2 has given him. Our preparation started three weeks in advance... All the Deva V fields import without any glitches. The telecine DVcam tape sound is a mix track guide for our picture editor. The Meta data migrates from the FLX and I believe that other IXML and Btext fields from the picture editor using FCP enter the OMF…
Last reply by Ron Scelza, -
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I"ve posted this over at RAMPS - and thought I'd re-post here to see if I get any more advice thanks Ian <Hi - I know that this has been covered before in multiple posts (I tried to search for specific info), and was looking for some advice The Telecine houses in my area (south-east queenland - Australia) are looking at ways of handling timecoded non-linear files; basically upgrading from TC DAT. Local recordists have a variety of machines on set (Cantar/PD6/702T - surprisingly no DEVAs) I've just purchased a 702T, and would like to help them speed-up the process of selecting a machine/computer that will be a smart choice on their behalf. op…
Last reply by Marc Wielage, -
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Hello everyone, I've been working on Boom Recorder 7.16 (I still have to make the new manual). And this new version will include a spectrum analyzer. I was wondering why the bands on a hardware based analyzer or graphic equalizer show bands that are based on a 1000 Hz center. 1000 looks like a pretty number, and multiplying it in your head is quite easy but it does not resemble a musical note which would be centered around 440 Hz. Now what I am really puzzled about is that they picked 1000 Hz, but the increments are thirds, which again is pretty important for musical notes again. I am just wondering about it. Boom Recorder has many more bands, so it just s…
Last reply by takev, -
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Stumbling blocks brought to light in the film workflow by the new ProTools 7.2 The Gotham Show is of great value to gain an understanding of many of the toys in the sand box. When coupled with the C.A.S. workflow tapes and Scott's PT 7.2 discussions a near complete understanding can be gained to an automated workflow that forces a collaberation to everyone's needs in one way or another. In my case having missed pieces of "The Gotham Show"; and one very important discussion regarding 23.98/ 48.048K VS 30/48K, for a 24fps film workflow... I find that all of these NEW major stumbling blocks to this automation are brought to light with Digi's new PT 7.2 identifying …
Last reply by Ron Scelza, -
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Dear All, The "Standards" rollercoaster ride we have been on for years might be reaching critical mass for the needed "Key Locator Field". Today's Gotham Sound event will gain a lot more ears hopefully moving us in the right direction for manufactures acceptance of the standard Btext EBU -BWF field for automating these workflows. What's next? Currently -- Next for a lot of us might be practical application issues in a workflow using Protools 7.2... with our file based recorders... PT 7.2 uses the IXML field "roll number?" as a Key Locator Field... For now.... What should be "user entered" into that field best automating the needs for EACH stage of …
Last reply by Ron Scelza, -
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I am doing a few days next week on a documentary that has been shooting on 35mm and syncing at the lab. I haven't yet found out which lab they are using, but I am considering using the 744T or another lower-priced hard disk / compact flash recorder (not a DVD-RAM PD-6, in other words) and I am wondering what is the best route for this. Is the InDAW the only way to do this? I am assuming at this point that syncing the takes in a non-linear editing system is out of the question. Tim
Last reply by Noah Timan, -
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Players: 2xHVX200 running on P2 cards, 744T Factors: stereo wireless recorded to each to CH1&2(Uncompressed) and the onboard(possibly modified to accept external mic) on CH3&4. A week on the road! IF....we need to use the 744 audio, upon import and syncing, what program will marry ALL(camera & 744) the audio to the image(up to 8 tracks), so when they start to load and edit later, on an Avid, everything stays together? Thanks Mike
Last reply by Brandon Barnts, -
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A buddy of mine doing a show for the WB has been recording on a Deva II for 8 weeks now. The sound has been going through telecine and they finally got around to posting his stuff and say they needed a UDF format and that the Fat 16 that he has provided cannot be read by their machines. They have some sort of laborious workaround but insist he buy a new machine. What do you guys tyhink the sitch is here? Is there an easier way for them to pull these files? TIA, Larry
Last reply by Jeff Wexler, -
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I did a one-hour outdoor interview in which there are occasional periods of 2 or 3 seconds of low-volume wind hits on the microphone, a Schoeps CMC641 in a Rycote windshield and windjammer. I've found that equalization will minimize them to the point that they are unnoticeable unless you are listening for them, but is there an argument that it would be better to eliminate the frequencies? Curious to know what the general practice is. Thanks and cheers.
Last reply by t.elder, -
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can anyone tell me what they typically use for sound reports? outside of printing up forms from you local rental house or designing your own, are any of you guys using carbon copy booklets? i have been thinking of getting some custom ones printed on carbon copy, but am unsure as to how many layers (white, red, yellow etc...) are typically included in each sheet. or is maybe this process not worth it and i should just stick to the ones i design and print and/or xerox? any thought or opinions? thanks -greg-
Last reply by Noah Timan, -
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Dear Sound Guys and Girls, I have two weeks to get familiar with using Fostex PD-4 TC DAT. The sound jobs I’ve done up to about three weeks ago have been ENG style sound mixing and had never done a time code based double system before. This will be my first 35mm (low budget) shoot. It will be 2 days of pick up shots. Again I have never used a time code slate nor have I ever used the the Fostex PD-4 TC DAT. Questions 1- Is two weeks time enough to get familiar and learn the do and don’ts? 2- I owe a small audio package,(2x411 lectro,2x sennh G2, 416 and 816 mics, an X5 wendt mixer). Do I need to rent anything else besides the slate and the dat recorder? …
Last reply by Bartek, -
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Dear Sound guys and girls, I'm about to start working on my first Doc. It will be shot with the DVX-100A. I owe a small audio package, (2x411 lectro,2x sennh G2, 416 and 816 mics, an X5 wendt mixer). The producer wants to record Audio straight to camera. My question is, should I have a backup system, if so, what are my options? Any other gear I should get my hands on? Thanks for your help. Ferdi. Ps. Mr Wexler, Thank you for putting this discission group together, I'm new to sound mixing and a discussion group like yours is a dream come true. Best regards.
Last reply by Ferdi, -
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This post will be of particular interest to people who are using Adobe Audition, and perhaps of interest to people who are working with other sound editing programmes. The Adobe manager in charge of Audition has a blog. On the weekend, I read it. He referred to an Australian named Bruce Williams who does a weekly podcast about Audition. After following a couple of links, I wound up at Williams's site, www.audio2u.com. It turns out that he does two weekly podcasts, one about Audition (called Building the Pod, very structured) and one about sound generally (called Sine Language, very free form). As someone who is learning Audition, I am pretty happy with Adobe's own b…
Last reply by David Terry, -
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Hello, I was just wondering how people are dealing with multiple shooting fromats on the same production with regards to digital audio recorders. In the DAT days you simply had a tape for film audio and a separate tape for video audio. I have the 744 as my primary recorder, and thus far i have been creating folders for each format, and delivering the audio on two separate DVD-Rs. This method however can be cumbersome and there is a lot of "homework" involved (splitting/ combining folders, etc.). Is there a simpler way of doing this. I would love to hear how other people are dealing with this. Bartek
Last reply by Philip Perkins, -
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Anyone have experience bringing BWF files into this specific system: Avid Meridian Media Composer v. 11.2.6 on Mac OS 9? Some older Avids I've worked with have not been able to directly use 48.000KHz, 29.97ND files without drifting against 29.97ND video, but this one's "newer". 48.048-F? Thanks, ben lowry (cross-posting this to RAMPS)
Last reply by ben lowry, -
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Is this part of the site intended to include discussions about post-production sound editing? I've just finished recording principal sound for a documentary, I'm about to start editing with Adobe Audition, and I may want to make the occasional post. If that kind of discussion is not appropriate, could someone suggest a site where it is? Thanks, R. Edge
Last reply by Jeff Wexler, -
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This coming week I will begin a new project using the new fiber optic system from Panavision. I think it's been out a while, but I've not used it yet. Anyone with experience on this would be appreciated. The DIT and I had a long conversation last night, and my questions were answered with confidence. But I'd like to hear some sound dept. points of view. The 'on set' workflow is pretty simple. I feed audio to the Fiber head units and it sends it to camera. The DIT will generate TOD/free run code and I will either hard wire...or preferably jam a lockit from that, cross jammed to 29.97. There is no confidence monitor, as the only return is EE, and it sounds…
Last reply by Phil Palmer, -
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I've started testing boom recorder and we are trying to import the files into Avid. For some reason it can imprt one file but cannot put all 8 together. I have set the boom recorder up to create 8 files and 1 folder. Is there a "standard" method of setup. I've got a mono mix one 1 and then split out radios on the other 7. I must say, I'm a late adopter of the non linear format. I've been waiting for a year and a half for the 8 track internal recorder for my Sonosax ST8D and I'm starting to wonder if it will ever happen. In the meantime I'm trying not to spend too much on another system. Many Thanks, Patrick
Last reply by cmgoodin, -
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Dear All, I am really impressed with what Courtney Goodin has been creating for us. This time with a program "BWF O Matic"... http://www.bwfwidget.com It offers a neat array of needed problem solvers.. I wish I had it last week; Situation: I needed to extract from a 2G, BWF-P back up file a 1min plus take. (I wanted to preserve the metadata and time code and deliver it as a BWF-M on a DVD RAM) -- What fun that was that day Without "BWF O MATIC". It was a pleasure with "BWF O MATIC" -- It took me a few minutes... Sincerely Ron Scelza CAS http://ronscelzasoundrecording.com
Last reply by cmgoodin, -
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I have some questions arising from my use of a SD 702T recorder, without mixer, and a Schoeps mic. I've been studying the 702T manual, and reading Geoff Martin's e-book (www.tonmeister.ca) and have followed relevant discussions here and on ramps, but am still confused. Not a little bit confused, but a lot confused. what is the point of having a Sound Devices meter display VU as well as Peak? I have discovered that the peak reading is not equivalent to loudness (a fascinating discovery), but does this matter? Is there a reason to set gain so that the meter peaks at less than 0dBFS (or, out of caution, -4dBFS) if one does not expect higher spikes in volume. Wh…
Last reply by redge, -
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I' ve just finished a DVCam shooting of a DVD about one of Brazil´s greatest composer and player. By request of the finishing house, we run Rec Run 29,97 Drop FrameTC on camera, and sent it from the camera to my Fostex PD4 dat recorder TC input. But now we found that in almost every take the tc from the camera freezes for a few seconds then runs normally again, then freezes and so on. The Avid is not accepting the DV tapes like this, and they can´t be logged. There´s a suggestion that we copy all tapes again with a new continous TC, so the avid may read it. But then we´re going to loose the TC sinc with DAT tapes, which should be resinced in the final steps to be…
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How many cables?
by Guest repete86- 14 replies
- 2.9k views
How long will you stretch your cables for a boom before you go wireless? I haven't had to go past three cables yet, so I've been lucky, but at what point is it no longer safe to use a line for longer tracking shots? I've been thinking about getting a wireless transmitter, but I really don't want to spend the money on it at the moment if I can help it since I have other things I would like to spend my money on before going wireless.
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I'm working on a mac utility that reads BWf files and presents the data in an organized fashion. However, not owning a recorder that produces BWF makes testing a bit harder. Sound devices already provided me with a large collection of files, so I know what to expect from those recorders. However, it would be great if I could get a couple of files from a Deva, a Cantar, the Tascam recorder, and from Metacorder. Short files are perfect. It would also be great if the timecode value for each file is noted so I can double check my math. I appreciate anyone who can lend a hand. Just send them to me using the email button. Thanks a lot!
Last reply by Tim Gray, -
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Hello everyone, I just saw that QuickTime 7.1 was released, so I installed it right away. I also removed my BWFImporter plugin, just to see if QuickTime 7.1 handles BWF timecode natively. And yes, it handles BWF timecode, but Final Cut Pro 4 does not handle it. You can see the hexadecimal timecode by opening a BWF file in QuickTime player. Press cmd-J and enable the timecode track. I've looked in the audio file after exporting it as a QuickTime file, and there is a new timecode format added; 'tc64', which would suggest that it uses the native 64 bit timecode format from the BWF file. Could anyone check if Final Cut Pro 5 would handle this new timecode with Qu…
Last reply by takev, -
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An excellent description of workflow from BWF to FinalCut Pro using BWF2XML software was recently posted on r.a.m.p.s. Here is the link: http://www.kenstone.net/fcp_homepage/basic_bwf_audio.html Regards, Jeff Wexler
Last reply by takev,