Workflow
discussions about workflow from production through post-production
736 topics in this forum
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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, -
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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, -
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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, -
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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,