Workflow
discussions about workflow from production through post-production
721 topics in this forum
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- 7 replies
- 1.7k views
Hey everyone! Long time lurker, first time poster. Let me first say that I have been extremely grateful for the wealth of information everyone has posted in these forums, it has been a great place for information. Unfortunately I am running into a problem that I haven't seen discussed yet. I am still relatively new (compared to 95% of you) and recently am being called on more and more sets with wireless follow focus systems. I am finding that I am picking up the sound of the follow focus motor when the AC is pulling focus. The lavs and boom are both picking it up when shooting indoors, but it isn't usually a problem outdoors. I originally th…
Last reply by Mungo, -
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The 2 HD jobs I have coming up, 1 on the RED, 1 on Genesis, they have standardized on 23.98 for everyone (seems like a good idea). I have 2 Denecke slates. The newer TS-3 I have set at position no. 4 which is "23" and seems to work fine being fed 23.98 from my Deva. The other slate is an older TS-2 and does not have a position for "23" so I set it at the position for "24". Fed 23.98 from the Deva it seems to be working but since there is no further verification (old style slate) I can't be sure this is correct. - Jeff Wexler
Last reply by Philip Perkins, -
- 2 followers
- 13 replies
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I just finished a reality shoot with 5 women non professional 3 were teens and they had issues putting/taping mics between their breasts. I tried to let them do it theirselves with limited luck. I am using Sanken lavs with hush foam and they work great if in the right place. I was thinking about something that would clip to the bra strap, I see some options. What works? This usually isn’t a problem until last week. Sent from my iPad using Tapatalk
Last reply by newzhack, -
- 10 replies
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I'm on a project that I'd love to hear some opinions on the workflow. It's a little bit confusing for me, and especially for post who's confused about the Varicam's internal 29.97. It's a multi-cam HPX3700 varicam shoot. It's shot on 1080/59.94i @ 24P The camera wants to see timecode at 29.97 (it won't accept 23.97 without error codes). The P2 files it delivers have timecode at 23.97. Post wants audio at 23.97. Lockit boxes will have to be cross jammed from 23.97 to 29.97 for the varicams. Does anybody see a problem with this setup?
Last reply by alenK, -
- 2 followers
- 7 replies
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Hi everyone. This is my first post to JW and I'm somewhat new to the location audio world. In December I'm doing my first feature film and the DP wants to use timecode which I've never used before. He is providing a Tentacle Sync and a Denecke Smart Slate which we'll be syncing to a SD 744T. The camera is an Alexa mini. I have a workflow in mind but I wanted to run it by some pros to see if I'm forgetting something. Make sure 744, slate and Tentacle are all using the same frame rate as the Alexa Use freerun mode on the 744 Using a 5 pin LEMO to 3.5mm TRS, jam the Tentacle to the 744 Attach the Tentacle to the Alexa mini using a 3.5mm TRS to…
Last reply by mikewest, -
- 1 follower
- 12 replies
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Looking at doing car scene - self drive. Mix of dialogue and playback.. RF Phonaks an option- but here is a thought... possible use an induction loop? I am guessing that the EMF and stray RF would kill it. But it has me thinking.. has anybody done this? My thought is that it could work but it would be total crap shoot... j
Last reply by mikewest, -
- 3 followers
- 33 replies
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Hi All! Inspired by Rado's and Atheismystic's RM11/ COS technique threads, I have decided to post my own Tram-50 technique. My technique is similar to the turtle clip accessory offered by Tram, but offers a lower profile and the ability to customize/adapt the cage. It also avoids the vampire clips that come with the Tram mic cage. This technique isolates clothing from rubbing the mic capsules head. In addition, this techique allows the mic to act as a boundary microphone of sorts. I find this improves the tonal qualites of the mic and to my ears, makes the sound of the mic less honky. It also picks up the resonation of the chest well. And now, wit…
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Last reply by Cosmicomics, -
- 3 followers
- 8 replies
- 1.7k views
What are peoples thoughts on the matter of compression in the location sound scenario? Thank you
Last reply by soundtrane, -
- 1 follower
- 9 replies
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Does one need a timecode slate in order to sync footage or can one just have a lock it box to feed timecode to camera? For example if you're using a lock it box can one use a dumb slate and still sync via timecode?
Last reply by JWBaudio, -
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- 4 followers
- 30 replies
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What's the average percentage for your lavs that you don't get clothes rustle/noise, drop outs or hits, etc on your lavs? I'd say about 40-50% of the time I lav someone it's clean without any really bad rustle. Sometimes I have no issues at all when I get the placement just right with cotton shirts, other times I'd assume it's completely useless. I do narrative work where I have to hid the mics almost 90% if I can't hide it in plain sight.
Last reply by mikewest, -
- 6 replies
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Hello Community, I hope this is the right place to ask this. I have run into a bit of a problem with one of my recent projects, due a rookie mistake on my part. I recorded the location sound for a 30 minute short film on a Zoom H6. Since this recorder has no built in Time-code functionalities I recorded the time-code from a Tiny Lockit onto one of the channels as LTC, syncing with the camera every few hours. The Tiny Lockit was set to 25 fps. The camera however was recording in 24 fps. Now I am wondering: is there anyway to convert the LTC audio files to 24 fps somehow? Can this be done once the timecode is added to a BWF? Or will post-production ha…
Last reply by Bouke, -
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I have a film coming up and production wants to record on film and tape. I intend on using my analog mixer, take the direct outs and record the ISOs into my 788T, and send the mix to the Nagra, and back into the 788T. The idea being that everything is already there, even though the tape mix will have a delay, it'll have the slate, and the actual tape would have TC on it. I guess my question is this: should I record everything at 24fps, 23.976, or something funky like 48048? I know that normally we would ask post, however post has not been lined up yet, and likely will not until after we've shot the film. So if anyone has ever done something like t…
Last reply by Jay Rose, -
- 1 follower
- 5 replies
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Are shot lists still a thing? I mainly do scripted drama and am constantly amazed about how much is made up on the spot. This is despite weeks of pre production and location recces.. we arrive to shoot and coverage is improvised on the day. I'm young enough to have grown up this way, but have fond memories of film school where the whole film was shotlisted and everyone had all the information to be able to get on with it. I'd love to know if this happens everywhere or just where I work.
Last reply by mikewest, -
- 8 followers
- 64 replies
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Hello all! Long-time lurker, first time poster here. Firstly I’d like to say how grateful I am to you all for maintaining this amazing site, for people like myself just starting out it is a fantastic resource. The fact that I am only just posting here with questions now is a testament to the richness of debate that goes on here. Keep up the good work! So I’m going to be mixing my first low budget feature next week, I have worked mainly as a solo sound recordist and boom op so far and have very limited experience producing a mix track. This time I’ve got a great boom op and a sound utility gal working with me so I have an opportunity to get my head…
Last reply by JamesP, -
- 1 follower
- 2 replies
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I'm building an app that can connect to a Venue VRWB or the new Venue VRM2 and display data about battery life and transmitter frequency. Using the ethernet port or a Global Cache iTach with the older Venue WB you can control your venue via an iPad or iPhone. The app is available for Beta testing now. If you are interested in testing this app and providing feedback to make it better please send me a message and I can help you get it set up on your device. Here are some screenshots. Yes it supports controlling multiple venues. The goal? To give you and your team the same functionality that the Wireless Designer app provides, in your pocket! -Real time…
Last reply by Blas Kisic, -
- 2 replies
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Hello, I am stumbling through the process of conforming a projects metadata to a desired nomenclature. I have very little experience with WaveAgent and have assumed that I can batch edit metadata with it, but it appears I was mistaken. Are there any good metadata batch editors that work with polywave files? Thank you. .
Last reply by alenK, -
- 3 followers
- 7 replies
- 1.8k views
https://www.videotoolshed.com/product/make-transcriber-files/ - $25 Mac or PC I do not work for VideoToolShed but Bouke, the developer, programmed this utility for me and I told him it could be useful to other sound mixers and they should put it up for sale to the public. Apparently it is now available! It's a fast and simple utility and has some nice features for us. You select the source folder for your BWFs (can manually or automatically detect frame rate), an output folder where you want the MP3s to go, check the boxes for which track or tracks you want included in the mono mix and hit create. It makes the mono mix for you so even if you …
Last reply by Philip Perkins, -
- 4 replies
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I'm trying to add 1 mono file to a 8 track poly file, when I bring them into wave agent and press combine it says the process is complete but nothing happens. Can someone let me know the proper procedure to accomplish this? I should add this lone mono file is from a separate recorder, that's started a little later than the first recorder, so is it even possible to combine it in Wave Agent? Do I have to take it into a NLE or DAW, sync them, then export a 9 track poly? Thanks
Last reply by nickreich, -
- 4 followers
- 25 replies
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Has anyone here had success clearing noisy birds from set? Using nonlethal methods of course:) I have a long film shoot coming up that will be shot primarily in the Hoh rainforest here in Washington state. The main problem is this is a sci fi film, so the forest is suppose to be another planet. So a native crow call will not fly. Fortunately everyone is using practical headworn mics inside the helmets, so I feel like relatively distant birds will be manageable, but again close sounds will be a problem. Also, they don't have that big of a budget, so having a falconer on set is likely a no go. My first idea would be on set playback of native bird of prey calls. Anyone here…
Last reply by Constantin, -
- 1 follower
- 17 replies
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Hi, all. After starting a new show I have been getting feedback from post that the TC is not being consistent. I have put lockit box and tentacle synch on the cameras and that seemed to fix the problem. I had a look at the software update page in Zaxcom just to make sure I was running the up to date software and I saw that I had v7.57t and the latest was 7.56 I updated the software to the recommended version and now it seems to be worse than before with TC being more of an issue than before. I have searched for the 7.57t version and I couldn't see it anywhere. I'm pretty sure it was that version.... I'm jamming the boxes more often and hopefu…
Last reply by Manel, -
- 1 follower
- 3 replies
- 1.4k views
Assuming that you are able to coordinate with the wardrobe dept before major costume and outfits are created/selected, what is your standard operating procedure? What do you ask for, build in to costumes, etc? I ask because I was approached to do sound for an indie period piece / western feature, and I'd like to coordinate with wardrobe before they start making outfits exclusively out of starched silk, fresh leather and chainmail. The only other time I've been able to coordinate with wardrobe in past projects I was only able to say, COTTON COTTON COTTON.
Last reply by syncsound, -
- 1 follower
- 10 replies
- 2.9k views
I'll start off by saying I am very new to all of this, so I apologize in advance if the nature of my question seems very basic... I've rented a G3 wireless system as a wireless hop into a Sony F55. I'm using a rental house provided XLR to TRS to go out of one of the XLR main outs from a SD 633 into the Senn Tx, the input level on the Tx is set to -48. The Rx is set to output level of 0 and going into the F55 as Mic level. The F55 has a manual volume of 0 and it's db reference is -60. When I send tone from the 633, the Tx meter peaks to where it should, then drops down very low, I'm not sure if this is just the specific ballistics on this Tx... But the tone into the F…
Last reply by VASI, -
- 7 followers
- 43 replies
- 9.2k views
On some kind of mythical, possibly Quixotic journey to get marked up sides onto the iPad. Solving: Easiest way to highlight the sides from .pdf script and export to iPad app cable of interfacing with Bluetooth page-turning hardware pedal (PageFlip Firefly $109/two AA batteries is the hardware I chose). ForScore is the first and only PageFlip-compatible app I've tried. Pretty good, but would prefer an app better suited for highlighting in many colors. This one requires I hand-build all the highlighter colors and is clunky when switching pages (you have to get out of highlighting mode first) and clunky to change colors. Moot if there's an app made specifically wit…
Last reply by Scriptation, -
- 5 replies
- 1.2k views
When we are shooting multi cam docu-package b-roll of live action our producers have started interrupting the flow by asking one or more of the cam ops to quickly switch to a higher frame rate for slow motion highlights. We usually just jam sync the cameras at the start but lately have been considering using some of the new mini lock boxes. How can we integrate these boxes into our workflow and accommodate a mid stream change of frame rate on a portion of the cameras in play? My concern is that we may be attempting to evolve with use of technology just as our production practices are devolving. I was thinking perhaps we could have an extra box preset t…
Last reply by mikewest, -
- 1 follower
- 11 replies
- 1.8k views
When I started sound recording I was frightened of wireless so always hard wired my talent (for sit down or statics). I'm not so scared anymore and convenience, ease and dare I say it, laziness has led me to using wireless. People moving, repositioning, going for toilet breaks etc means wireless FTW. Production/most people don't seem to care and most people look at you sideways now if you want to hard wire talent. That said, my wired Tram TR-50s are I presume (all things being equal) going to always deliver better quality than wireless Trams. What do you people do? Do you ever wire anymore or is it 'old skool'?
Last reply by mikewest,
