Workflow
discussions about workflow from production through post-production
721 topics in this forum
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- 15 replies
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Hello, Embarking on a new movie, which will at times choose to shoot "HFR" (48 for 24) for a specific look. The DP doesn't want to involve post yet in the discussion (if ever). We agree no to change my frame rate, so he can go in and our of it without thinking too much about it. He is wondering what, if any, is the standard. 47.952fps or 48fps. Shooting Alexa. Robert
Last reply by BAB414, -
- 1 follower
- 22 replies
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Hi guys, A soundguy doing sports with lots of small recorders asked me to promote files from small, non-tc capable recorders to BWF. So, I've made him something that does this, and also can include a custom offset. So, you can set the actual TC 'somewhere' in one of the files (it has a player build in), and all the files will get the 'correct' timestamp based on a bit of math on their file creation time. (Of course this is only second accurate for the other files, as the creation time is not more accurate than that.) Now my questions: -What more should I add to make it practical for daily use? (metadata / sound report or is this overkill?) -Since ther…
Last reply by Bouke, -
- 5 followers
- 26 replies
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Hi, A low-budget doc I have been working on is going to try remote audio-only interviews. I've been tasked with suggesting some workflow solutions. I did check the site but didn't see anything; if I missed it I'd be glad to be pointed in the proper direction. I am currently thinking along two approaches. 1. Via the Internet - Basic guidelines provided to each interviewee to minimize "noise" in their environment. - Headphones that could be mailed to each interviewee, connected to their phone in order to hear the director's questions - A USB mic mailed to each interviewee that could be connected with some ease to their…
Last reply by Philip Perkins, -
- 2 followers
- 7 replies
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Hi folks, I'm new to the forum and hope I'm right here with my question: I'm a documentary filmmaker/director who is doing more and more his own sound. I've experiences with a 788T and a 633 and was using the sound report feature. But while shooting I always wanted to add a marker to the exact TC in that moment, so that I'm able to review this marker later – after a long shooting day with long takes – and add notes to all the markers. This notes would be very helpful for postproduction. I guess I'm not using the full potential of todays mixers/recorders. But maybe some of you guys are owning mixers/recorders and have experiences with more detailed metadata in a doc/…
Last reply by IronFilm, -
- 8 replies
- 5k views
A Sound Design Mix Pre 3II can record 32 bit float files. I use Logic Pro X for my sound editing and, as I understand things, it converts 32 bit float files to 24 bit while ingesting them. If that is the case, is there any point in recording the original audio file as 32 bit float? Thanks in advance for any information.
Last reply by Olle Sjostrom, -
- 16 replies
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I need to create a thump track. A daw with an internal metronome would be best. Most have internal click track generators but they are pitched too high to be a good thump. I have tried cutting low freq tones and cutting a pasting them into a timeline but that is not the most efficient way to do it. I tried this method with audacity but strange annoying clicking artifacts were revealed. ideas? john.
Last reply by seppesvg, -
- 2 followers
- 8 replies
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I am working on my first film. I have 1 scene with 23 people speaking at one time.....I am new to this. My thought was lav everyone and chase with a boom which puts me at 24 total....I have a 664 so I know I have 12 channels there but what's the best way to handle this? Do I need a second recorder 664 or 688 or scorpio? Or, should I get a sound devices 970 and record them all to something like that?
Last reply by daniel, -
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- 661 views
Duplicated elsewhere. D.
Last reply by tourtelot, -
- 2 followers
- 27 replies
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Guys, i have a good question here. DId a shoot ( 3 days and then 2 days ) on a Canon C300. The order was sound on the camera ( dialogue ) and Isos for Dialogue and some Sound effects and Ambiance on the recorder. Used a Lectrosonics SRA5P and a Denecke SB-3 on the camera. Now Post requested 29.97 Drop frame. I set the denecke to switch 9 ( 29.97 df ) and my 788T to the same, and also set the camera to 29.97 and DF. Hooked up the SB3 and the Canon confirm receiving TC by displaying an E next to the running code. Everything looked synched. Jamsync and check at lunch and end of day everyday, all was good. Got a call from Post. It looks like when i roll sound for…
Last reply by Hala, -
- 4 replies
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Hi, New to the community and learning quite a bit about location sound mixing. I was hoping someone might be able to shed some light in regards to using a timecode device with the following gear. I would like to add Tentacle Sync(s) and/or UltraSync One(s) to speed up post production within Davinci Resolve Studio. Since the Sennheiser AVX system introduces 19ms of latency, I would have to compensate the boom mic for that latency within my Zoom F8/F6. If the audio sync is now off from the video timecode by 19ms, how can I address this before bringing the project into my NLE? Is there some kind of compensation within the recorder or timecode device that compe…
Last reply by Jim Feeley, -
- 2 followers
- 53 replies
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I'd like to re-introduce a subject that is of particular interest me currently and it pertains to gain structure in the wireless workflow from talent mic to camera send. I have always been told to output from Lectro receivers at a low level and to input to the recording device (recorder or camera) at mic level. In a past post, reproduced below, John Blankenship makes a convincing argument against this and I'd love to hear further discussion. JB Post: For instance, let's say you are running a mic into a mixer, from whichyou have a line out cable into the Lectro transmitter and then goingmic level from the receiver into the camera... Here's whatyou are doing signal…
Last reply by Mattias Larsen, -
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Last reply by mono, -
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Last reply by mono, -
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Recently I commented that I was using Adobe Audition as my software to process recorded sounds and (mostly) human dialog. I referred to Audition as a DAW. Most of the replies seemed to say Audition comes up short as a DAW..... I am on a Mac Book Pro btw.... What is your recommendation for a beginning sound recordist? I am a photographer who has gotten in to video short films or documentary style video and I am using the Zoom F8n and the F6 to capture the audio and sync with video. My audio has, for the most part, been clean and honestly acceptable... Any comments, criticism or suggestions will be most appreciated....
Last reply by Jay Rose, -
- 1 follower
- 8 replies
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in the quest to get the best dialog recording i can get, i'm trying to learn how to reduce those pesky early reflections. i'm a fairly new sound recordist and thus far most of my gigs have been in boxy rooms with nothing but hard surfaces to reflect. i'm using a super-cardioid mic (sennheiser mkh-50) and getting the best/closest on-axis recording i can, and my recordings sound very good, but they can be better by getting rid of those early reflections still being picked up. i'm thinking about getting some proper sound blankets (those 'producers choice' are what i'm leaning towards) and reading up about room treatments but these are focused on home theatre situ…
Last reply by Wandering Ear, -
- 1 follower
- 4 replies
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Hey guys/gals, I recently had a shoot where I had to place a lavalier on a high-profile talent as part of election campaigning. Often I would only get access to the talent right before they were about to come out to the public, the same time that the producer wanted me to be covering with the boom. At one point, the producer said that a lot of sound guys just keep all their gear on (harness and mixer etc) because he was frustrated by the time it took me to get my gear on afterwards. It didn't seem appropriate to have all my gear on when trying to put a lav on talent, especially a high profile one that already disliked having to deal with sound pe…
Last reply by azw, -
- 1 follower
- 19 replies
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Hello on set today yet another debate about the naming of the slate for pick-up takes... Not the first nor the last I am pretty sure, especially when working with newcomers continuity person. There seems to be 2 schools of thought: The ones who name it scene/shot/take pickup (like scene 100 shot 2 take 3 pickup after a 100/02/T03 take. Then onward 100/02/ take 4 pickup...). The other ones -including myself - who prefers to name it scene/shot/pickup/take (starting from take 1) as the point is to do a pickup of the shot, not of the take, so take number of the pickup can start from 1 (So scene 100 shot 2 pickup take 01) and increments normally if ne…
Last reply by aginzo, -
- 1 follower
- 13 replies
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Hi all, For episodic TV, is it helpful for post if we keep each character on the same channel across different scenes? For instance. Each character would always have the same radio mic and therefore go on the same track. So "George" would always be recorded onto track 5. Obviously as each scene has a different number of characters, track 5 would come in at different positions in the polyfile. But can the metadata be used to always bring the same character in on the same track in post and be useful for our post brothers and sisters?
Last reply by Philip Perkins, -
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What is your workflow for routing the video assist playback through comteks?
Last reply by Mike Westgate, -
- 1 follower
- 5 replies
- 909 views
I am starting a new movie this Saturday and wanted to get some advice on a new work flow I am going to try. I have my recorder set up for 12 channels, I have never used that. Should I look for any gotcha's using the12 channel mode? I have a stable of Sennheiser 5220's and a couple of sk250's that are still working well. I have a mixture of 3041 and 6042 receivers. I usually put and record the boom on x2 and label it boom and was thinking about feeding channel 7 from a 6042 to that channel at line level. That way I have a constant monitor for that channel. I use x1 for comteks. I do a RL mix of the lavs and supply ISO tracks. I do hav…
Last reply by newzhack, -
- 1 follower
- 16 replies
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Hey People, I'm a newer mixer but I've been a studio engineer for many years. Just moved to NYC and through connections and other smaller jobs I got a feature Documentary. It will be taking me inside mildly high profile courtrooms, into high profile law offices / transporting SUV's. I feel confident in my kit (Mixpre 10t / Tentacle Sync / 416, MKH 40, Sanken Cub / G4 500 wireless x3 & Lectrosonics LMa/UCR 100 x1). Things I am NOT confident about: Which Mic to use in a courtroom. Pretty sure it'll be packed and not massive, so do I go with the directionality of the 416 or avoid phase problems / having to stick out with movement and mic size and go wit…
Last reply by Derek H, -
- 2 followers
- 4 replies
- 1.5k views
I'm off to China and Singapore next. What are the legal wireless frequencies out there? Anyone know please?
Last reply by Soundo, -
- 7 replies
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Hi guys, was wondering if this mic could be used for dialogues on a sennheiser g3 tx, or a lectrosonics smqv tx in noisy environments. i was looking for a cardioid lav for noisy situations. looking everywhere but found no answer regarding dialogue recording for film and broadcast purposes. Pls advise .thank you in advance https://www.countryman.com/isomax-2-all-purpose-microphone/
Last reply by Rick Reineke, -
- 2 followers
- 15 replies
- 2.2k views
The DP on an upcoming interview job says the client suddenly wants to monitor on a laptop via an app called Zoom. At this point I have no info on what laptop will be available. I have a Mac and can only test on it. I have had no luck getting a feed from my 633, line or mic from main out, into the Mac. I got an adapter with trrs into the headphone jack that splits to two trs jacks, one marked mic and one headphone, but I cannot get the laptop to recognize the external mic. Does anyone have a clue? Thanks.
Last reply by TVPostSound, -
- 26 replies
- 2.5k views
I recently got a Zaxcom Deva ii for free, and although it is old, I love the sound, functionality, and form factor and want to use it for multi channel location music recordings, and for sound on small scale documentary shoots. It came with the DVD-RAM recorder. The problem I have is I can't work out how to access the files on my PC. I first tried removing the internal hard disk and plugging in to my Windows 10 computer via an IDE to USB interface. Result; no files to be seen. Next, I bought some DVD-RAM discs and tried mirroring the HDD; this has worked as the files play back on the unit from the external disk, and by visual inspection, the tracks are obviously there on …
Last reply by Christian Shaw,
