Workflow
discussions about workflow from production through post-production
721 topics in this forum
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Well it has been 8 years since i made my thesis on the Dutch Film Academy about sync sound, but i thought maybe for some, it can still be of any use. Let me first say that i am not aware of any firmware fixes to this problem. so test it for yourself. i did not used a Nagra for 7 years. When i did one of my films in my exam year we used all kinds of different recorders. A Cantar X2, a few SoundDevices and a Narga 6. when i received my linked audio and imported it in Pro tools i noticed some really weird behavior. The beep was perfectly sync but i noticed some of the audio being async. while others where perfectly synced. i also noticed that the regions…
Last reply by WrineX, -
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- 19 replies
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Revived this thread- scroll down to bottom for new posts. Hi everybody, I've run into a weirdness with TC. I was helping a friend on music video project and it was decided that we do a live recording and treat the project as live concert. No playback to artists. I decided to feed TC a pro-tools system that was manned by one of the bands mixer. I am not a pro-tools person. Audio was fed to the 16th track of the pro-tools input. The TC source was an ambient slate. When the tracks were mixed and distilled down to stereo master the editor was delivered 3 mono wav files. L/R/TC. In avid the Audio TC to be ren…
Last reply by Bouke, -
- 12 replies
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I´ve got a scene coming up where 2 actors will have dialog through a door with a window (glass). For them to hear each other we need an intercom system. Basically 2 small loudspeaker that gets a feed from the opposite side. To have the dialog as clean as possible I want those speakers to just engage if the other side is speaking. I thought to use Automix from my Nomad but (correct me if I´m wrong) that won´t work since the Automix will send both signals to one single output. I can´t use Automix as a gate / expander can I? Other idea was to use 2 lavs / 4098 using Zaxcom TRXs and engage the expander in an extrem manner. Or use the a…
Last reply by Mike Westgate, -
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- 17 replies
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Alright. I will do my best to give background and explain concern. Shooting micro budget feature film on S16mm Arri SR2. We have the Senn 416 that will go directly into a recorder/preamp. I used a clapper and sync sound and film using FCP. We do not have a sound guy on set (y'all kill me everytime with that comment) I was leaning towards the MixPre3 but a sound pro offered this advice below: What you have to worry about is the sound and the speed shift due to shooting at 24.000FPS and transferring at 23.976 FPS so the AUDIO has to slow down by 0.01%. The SD 702 can do that for you automatically. If you use one of the cheeper recorders - you…
Last reply by Bouke, -
- 1 follower
- 40 replies
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Hello folks, Just signed up to this site, this is my first post. This is a pretty basic question but would help me alot. Can anyone talk me through some examples of workflow from capture through to exporting final audio. i.e repair, normalization, eq, compression. And what their go-to/favourite plug-ins / effects are. Please be as detailed as you like. The setup I'm using the most is my Rode NTG2 into Zoom h6 into Logic or Cubase. I have also just recently bought RX Elements. Thanks.
Last reply by IronFilm, -
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Hi all, First post here and what a great resource this site is! I've done a search but can't seem to come up with much at all on my issue. So, I accidentally recorded an interview for a documentary yesterday at 24bit/96khz instead of 48khz. I'm about to hand over the files to the production company and was thinking I'd like to convert all the clips to 48khz to make their life easier in post (Avid MC) and preserve my reputation (I'm a relative newb to the audio side of things) with the post facility/producers by not making things harder for them than they need to be. My question is, is it worth doing or am I worrying about nothi…
Last reply by Paul Katzman, -
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- 15 replies
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I've created a brief tutorial showing Auto-Mix setup for either a mono or stereo workflow. I think this may help folks who have had questions about Auto-Mix in general, or who had questions about routing and setup so they could begin to experiment with the function. Pay no mind to sound flaws in the edit please. I sent sound directly to camera to save time, and iMovie isn't the most robust of programs to edit audio with. I could spend a lot more time cleaning this up, but I believe it's fine for a tutorial. Anyway, I do hope this helps some of you who may have missed the post on the Zaxcom group on FB. Enjoy. Zaxcom Auto-Mix Tutorial, Nomad 10 v7.10
Last reply by forasong, -
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- 7 replies
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I have a poly that I split. The track info window bears the names I'd like to import to PT. But I can't figure how to use the metadata editor to do that. Or is that a step in poly split that I missed? Or is WA not capable of that step?
Last reply by Wandering Ear, -
- 2 followers
- 14 replies
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Hi Guys Just had a job come up that is shot on a Sony F7 at 50fps shooting at 4K. Just wanted to double check time code settings with you guys. Am I right in saying I set my 788 and Lockits boxes to 25fps as it is half of the 50fps and then should all be good in post? I'm assuming all audio would be recorded off board only as the sound drops of when the camera is in off speed? I've done a screen grab of the tech spec they have sent over if you're interested in having a look. Thanks for your help.
Last reply by Constantin, -
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I have just received a very vague call sheet for a shoot i’m on tomorrow. It’s a nightclub with 6 performers - I reached out to the associate producer and explained I was a little confused as to what I will actually be doing and was told I may just be recording the performances from the house AV (or desk, I do not know!). I am a little frustrated about the complete lack of communication up until this point. Anyway, I expect this would be a case of recording direct outs from the desk/system - or is there something more that I’m perhaps missing? Should I ask for line up tone from the Del in order to calibrate my recorder (zoom F8) or just match meters? I apologi…
Last reply by afewmoreyears, -
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- 13 replies
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I was wondering if having digital and analog wireless in the same setup can work fine all together. I own Zaxcom and Lectros, and for the moment I go all analog . But I'd like to try the Zax in digital. Just not sure if it can blend all good together or it's better to go 100 % on a side or the other. Is anyone work digital and analog and is happy to share his thoughts ? Cheers.
Last reply by Werner Althaus, -
- 5 followers
- 29 replies
- 5.9k views
Hey all, I was curious if any of those members who are experienced with soundfield/Ambisonic recording could share a bit about their delivery workflow. Obviously I know each client is different, but in general how have you been asked to do things? Some of the questions I had were: As a sound mixer do you just deliver the A-format files and be done with it? Or have you been tasked with converting the files to B-format after recording and delivering those? If so, do you bill for that time? Have you ever been asked to deliver 5.1 or 7.1 (etc, etc) files? Any other thoughts you have are appreciated! Thanks! -Mike
Last reply by Steve Whitford, -
- 8 replies
- 1.3k views
Looking for a simple IOS app that i can use to input TC stamp and notes into a spreadsheet. I tried using moviesslate but i do not think it is the right tool.. Very few takes but very detailed notes.. thx. j
Last reply by johngooch, -
- 6 replies
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Good Afternoon All, I hope everyone is well :-) I have an upcoming location session with a solo harmonica player - quite a virtuoso player. I wonder if anyone has any experience or tips that you may be kind enough to share? This player is not a "blues harp" player, but a very clean, melodic player who does the classic melodies as a solo artist. His sound is not the raunchier "harp sound", but more of a vocal like, pure tone delivery. He uses an interesting array of approx. 6 mounted harmonicas in various keys, in addition to the chromatic style harmonica with the "plunger" type device on the side. He doesn't use the typical close hand-held mic…
Last reply by ronmac, -
- 2 followers
- 21 replies
- 3k views
Hi Group, I am currently shooting a TV-Series in Berlin and of course they didn't want to pay me to be on the tech recce. Now I am confronted with the most horrible locations. A little video as an example attached. Since it is a bigger series I didnt even wonder and thought. ADR, of course. So now I have the strange situation that the producer basically says, no ADR. For 80 days of shooting they maybe budgeted half a day of ADR. I know this is ridiculous and they should know better. Now he wants suggestions how to avoid ADR in horrible locations, besides changing the location. I already told him to hire a dialogue editor who really goes…
Last reply by IronFilm, -
- 1 follower
- 14 replies
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A post supervisor is insisting on a specific track order I’m trying to wrap my head around. ( I’m asking to just provide a mono mix + Isos) Before I push back, I was hoping to hear some thoughts. Here is what they are asking for: ”track 1 - mix boom” ”track 2 - mix lavs” “tracks 3-12 ISO’s” does anybody here work like this for a TV show? It’s scripted, and I will have a full team with me. On a wide shot would “boom mix” just be really low? I think it’s odd to have my recorded tracks be micro-managed towards something more complicated. any thoughts would be appreciated.
Last reply by Bash, -
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I am booming on a show where we had a sick leave cover mixer for a day, operating the shows rental 788t. Post complains now, that since then consecutively recorded mono clips end up on a new track in the timeline. The first clip on A1 the second on A2 and so on. The phenomenon occured before and was solved in the past by doing a factory reset on the 788t. However, I wonder what setting in the 788t causes this.
Last reply by DanieldH, -
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- 2 replies
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Hi Guys, what are the legal wireless frequencies in France please?
Last reply by lestevennok, -
- 3 followers
- 53 replies
- 7.6k views
I would like some suggestions. I currently use a 552 mixer, synced to a 744T for timecode. Generally I do my mix tracks in the 552 and my ISOs on the 744T. This works great because the mix tracks are already separated for the editor and can be joined if needed in post by timecode. It also sucks because there is no way to label shots inside the mixer, so I have to re-name all the mixer files to match the recorder files afterward, while generating the audio report in Wave Agent. Any one else deal with this? What is your process?
Last reply by Bouke, -
- 5 replies
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Hey folks, may seem like a stupid question, but is it possible to sync Video and Audio in Premiere via Metadata TC without using the dedicated Tentacle Software? The footage was shot on a Red Camera + Tentacle and a 744T, both synced. I don't have the video material, otherwise I would just test it myself. So far none of the youtube tutorials were helpful, but my guess is, that you have to use the "merge clips" function. Any help is appreciated. SoundSide
Last reply by Bouke, -
- 16 replies
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Hello from North Carolina! Not sure if this is the best category to post this question. I'm coming from a camera guy background, and getting more into audio recording. I recently bought my first boom pole, and it has an internal coiled cable. It's very convenient, but is obviously a double-edged sword because with fast movements I can sometimes hear the cable hitting the inner walls of the pole. I know practice and technique are the best way to prevent this, but I was also wondering if anyone had any tips or tricks regarding this, whether technique related, or something like sleeving the cable in something soft, or ?? I've been practicing without a mic up…
Last reply by Johnny Karlsson, -
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- 5 replies
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Hey Guys, I want to throw my balls on the court, have not worked with TC extensively. About 5 months ago I started jamming and it has been only with the Alexa's 5pin lemo. I get back to the norm, and I get set for a Red Epic W shoot and I soldered a new 4pin LEMO for the shoot, and come to find out he had a 5pin (like the Arri) and a BNC. Unfortunately I did not have my 5pin with me, I know the older Reds had 5pin LEMO. Than I found out that they have other boosters that have a BNC solo TC in? I was wondering what tips you all may have that could steer me from stumbling like I did today? P.S. In any of this correct me if I am wrong, but why…
Last reply by IronFilm, -
- 9 followers
- 81 replies
- 15k views
We work in an industry of large ego's and personalities, usually in high pressure environments. Inevitably, arguments and tirades make their way onto set. What have you seen? How have you diffused the situation? How would you deal with an actor throwing a transmitter across set or a stressed out AD that insists on rolling without sound, etc. Would love to hear the horror stories and the creative solutions you've used on problematic sets.
Last reply by IronFilm, -
- 1 follower
- 2 replies
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Hey Guys, thought this may be of interest. I've just done a fun job recording a Jaguar F Type Race Car. (see photo below) Some of the audio was captured by mics placed in and around the car, however, the fun part was being strapped into the back of the follow truck (a V8 Dodge) whilst we went round the track with the car in hot pursuit. So, I planted a Zoom H4N in the engine bay with a Sure SM58. I planted a Sanken Cos11 on the interior centre console of the jag, attached to a Micron TX and another identical rig on the rear of the car at a centre point between the exhaust tail pipes. I dialled down the gain on the Zoom H4N to 10 and set the Micron TXs to leve…
Last reply by Rawturnip, -
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- 0 replies
- 867 views
Hello guys . I know good sites with free sound effects packs. Many of these sites vary from major sound databases like Freesound . org to small blog sites dedicated to a particular niche. 99sounds lucidsamples soundbible freesfx soundimage noiseforfun freesound
Last reply by djkim,
