Workflow
discussions about workflow from production through post-production
721 topics in this forum
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- 15 replies
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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
- 2.7k 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, -
- 1 follower
- 12 replies
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Hi all, Up until now I've been using two track recorders (started with Marantz PMD670 and now a Tascam P2), but am starting to consider moving more towards a Deva (or at least an SD744) and was wondering how everything gets routed to the recorder. For me, it's been easy up to this point. I send the boom left, all the wireless to the right. So, with a Deva IV or V, what do you do with all those tracks? And, how does your mixer handle mutliple outputs (most of the mixers I've been looking at seem to just have two main outs, so how do you get the other 8 tracks over to the Deva V?) Thanks in advance! (BTW, Jeff, thank you for this forum. It has been great to ge…
Last reply by Bartek, -
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Hello everyone, Do new prosumer cameras still have a LANC connector? I myself do own an old Sony camera that has LANC and was thinking of connecting it via a pad to the input of an audio interface and using it as a timecode for Boom Recorder. But if new cameras don't have LANC anymore then it would be a little bit to much work. Take
Last reply by takev, -
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I'm working on a documentary project that I want to produce for both film and radio. Today a radio network confirmed that it will commission the radio side of the project. The producer says in an initial e-mail that he is ok with 16 bit, 44.1kHz. If I want to record 24 bit, 48kHz, will that (especially the sample rate) cause the producer a problem? When I used the word "conversion" in the subject line, is that even an appropriate description? The producer and I are going to have a discussion on Monday. Thanks.
Last reply by redge, -
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The default on the SD 702T is -12 at 1K. What are people using for film, as distinct from video, if the end-product is NTSC or PAL? Is this up to the audio post house? What if I am the audio post house? Thanks
Last reply by redge, -
- 1 follower
- 17 replies
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I have read statements on ramps to the effect that producers insist that stereo recordings of ambient sound be done XY or MS to ensure mono compatibility because large numbers of people still own mono television sets. A few questions: Does this mean that nobody recording ambient sound for movies or television uses ORTF? (In these same ramps discussions, I have seen suggestions that ORTF is used, and that in the real as distinct from theoretical world, it works.) What exactly is it about an ORTF recording, when received in a mono receiver, that is nasty? Does this mean that broadcasters are broadcasting in both stereo and mono, or that they are broadcasting in s…
Last reply by Philip Perkins, -
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Howdy - returning to location sound work, mostly documentary, after some years away and learning all I can about the new tools of the trade. Why the insistence upon DVD RAM as opposed to other DVD media? What prompted this particular question was an inquiry I saw on anther forum for good Mac-compatible DVD RAM drives and it made me wonder why not just use the internal DVD R/W drive already there? Please excuse the newbie nature of this inquiry, but thats the truth. thanks- peter
Last reply by Philip Perkins, -
- 4 replies
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I know you guys recording to DVD or hard drives, hand over the drive at the end of the day, and then get it back once all the material is synced up... What is the system for using the 744T with the hard drive and CF? What do you do at the end of the day or end of the shoot? I am thinking a 702T might be good for me, but just not sure the folks I do business with would get it, if I handed them a CF card and said, THANKS! I guess some client and post production education here in Dallas might be in order... many thanks...cleve
Last reply by Jeff Wexler, -
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I would like to hear from any mixers out there using the lectrosonic venue system, and get there pov. This system would seem to make sense regarding my set up. Thanks & Regards old school
Last reply by gformicola, -
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Here is part of an email from my post super on an upcoming show. "Did you get the Channel assignment that would be most helpful to our Post Facility and our Editor along with the specs? (-20db and sampling frequency is 48 khz at 29.97 fps Non-Drop)." I questioned the 29.97nd tc and she answered that they were transfering to 24p tape and required this TC. This is the first I've ever heard about 29.97 for film. We are shooting super 35, 3 perf. Anyone have any insight into this before I talk with transfer and post about it? thanks ya'll, LL
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Hey, in response to the question about long guns in the equipment section, i was wondering when the right time to use them is. and then i thought, well, when is the right time to use any mic? i've learnt that the chain of command is something along the line of: boom mic, plant mic, cabled lavaliere, wireless lavaliere. with wireless being the last choice. but i also know that with multitrack recording, using wireless as an "insurance" track is becoming common - is this something you guys do on big sets (jeff and co)? ive also learnt that "boom mic" can generally include three choices: hypercaridioid for interiors, shotgun for exteriors, and long shotgun for…
Last reply by tim apter, -
- 1 follower
- 12 replies
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Dear All, If you have a minute to think about a simple Workflow Survey questionaire, please post your ; comments, other forms, ideas, thoughts, etc. into the folder located in the file section.. Ideally limiting this form to less than a page using (KISS) and still containing enough information to avoid "Post-Mortum". Sincerely Ron Scelza http://ronscelzasoundrecording.com WORK IN PROGRESS: “WORKFLOW SURVEY FORM DRAFTâ€� (up Loaded to the Files Section) ------------------------------- Question One of many questions.. If only one multi-track media (up to ten track) were delivered to you from production sound; What type of media (DVD-RAM, Fire wire…
Last reply by Simon Paine, -
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Hi, first post. I'm glad to see an entire forum dedicated to audio. Ok... I was wondering what the procedures/techniques/equipment are for playback sync on a music video shoot? I'm a DP and I haven't really had the time to see how playback is organized. I know that a timecode slate is often hardwired to the song's timecode and there is a "pop" a few seconds before playback. Is the song broken down into separate clips according to the shot list? Is there a method for syncing that doesn't involve a timecode slate? What sort of gear is required? The reason I ask all of this is becasue I have a friend who is a musician and as a favor, I'm shooting a music video…
Last reply by Philip Perkins,