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Workflow
discussions about workflow from production through post-production
730 topics in this forum
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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
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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, -
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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, -
- 3 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, -
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- 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, -
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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, -
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- 10 replies
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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
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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, -
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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
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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, -
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Hey Guys, what do I need to connect either Dipole or SharkFin antennas to my Micron Explorers. (I have two). Do I need passive or active, also would I need a distributor? It'll be a cart set-up. Would a distributor need power? ................ Waddayathink?
Last reply by Rawturnip, -
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Hi all I hope this does not go against the forum rules - searched long and hard, but could not find them. Feel free to delete if it violates any. We are a passionate group of Danish and American sound designers, who were tired of all the tedious and repetitive tasks we all do every day in Pro Tools. Tired of the missing shortcuts and the cumbersome workflows. So we decided to make SoundFlow - a collection of utilities to help our Post Production Sound Workflows. Our first app is SoundFlow Shortcuts. We currently have shortcuts for: - Preview, Write Automation, etc. - iZotope integration - Audio Suite search - Open/close inserts & sends - …
Last reply by tourtelot, -
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Hi all, i find the last years phonak invisible ears are commonly seen as standard in an audio-set. I mostly use them for music-playback or telephone conversations where the other side of the phone has already been filmed. i make a montage of the best take in pro-tools on my laptop, but find myself putting to much time in the right cue's for the playback than recording the good sound of the scene. i am not that big of an expert in protools, but does anyone have a solution i'd just have to enter the spacebar for playback of the next response? so i don't need to scroll with the mouse, but just divide each response in audio-blocks and press space-bar …
Last reply by Constantin, -
- 1 follower
- 4 replies
- 876 views
I have 9.62 / 9.31 / 9.23 / on various TRXs now. After formatting the card within the TRX I normally found a "delete me" file on the card. Not now. Tried with different TRXs / versions. Any ideas?
Last reply by Matthias Richter, -
- 2 replies
- 899 views
Hello everyone, I'm trying to extract the files from a Primary Card from my Deva Fusion 10 and and error pops up saying: 1,<MIR_Zax2BWFPcCh_ERR_1>) and on the warning says it could not find available Wrapper. I have read posts about partially formatting the cards. Can it be done in the Fusion? how? Would this fix the problem? Thanks
Last reply by Manel, -
- 1 follower
- 7 replies
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Does anyone know of an application that can convert broadcast waves that contain time code to an MP3 that has time code embedded? I run into this problem on a shoot today. They need transcripts right away and didn't want to wait to upload the full-size wave files because the interviews are two hours long. They Needed transcripts right away because it's a sports related show and didn't want to wait to upload the full-size wave files. I'm hoping there something out there. I gave them the mix track but they wanted an MP3 with timecode . thanks for any guidance you can give me, John
Last reply by jgbsound, -
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- 3 replies
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Hey everybody, long time lurker taking the plunge. I'm on a project and just found out that tomorrow there will be a segment shot on an iPhone. I'm still waiting on details from production, but I wanted to ask how others have handled working with the iPhone. I'm assuming sending audio to camera isn't realistic, so I'm thinking double system with a TC slate. I see to get conflicting information online regarding frame rate. Does it shoot 29.976 frames or true 30. As far as I know they are planning on shooting in the iPhone camera app and not an app like filmic.
Last reply by Trey LaCroix, -
- 2 followers
- 11 replies
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When filming live music or theatre shows, I often have to provide the stereo mix track files (two tracks from the larger multi-track set of Mono time-stamped Broadcast WAVs created on Sound Devices 970s) to Music Supervisors or similar people for them to make edit notes from. This is similar to what many of you do for Transcribing - except I find they prefer the full BWAVs instead of timestamped MP3s as is usual for transcribers. More tech-savvy music types will spot all the takes onto the timeline of Logic or Pro Tools if they have the time, but for others, I set them up with the fantastic InqScribe transcribing player to do their notes. Often they get annoyed by having …
Last reply by nickreich, -
- 1 follower
- 17 replies
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Hey Guys, I'm a UK based sound recordist and I've got a TV pilot to shoot.I have a Sound Devices 744T and 442 mixer. I need to use 6 radio packs and a boom for this job and would welcome any work-arounds or maybe you've done the same thing.There's no budget to hire in any more gear so I'm thinking I'll have to "double up" on some channels.Waddayathink???
Last reply by pkautzsch, -
- 1 follower
- 11 replies
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Curious, who here is collapsing tracks, and who isn't, and why? I'm still on the fence about leaving a second boom track empty on a master, say, when I know I will likely arm it in the coverage. What's the consensus here? What annoys editors the most?
Last reply by macruth, -
- 1 follower
- 7 replies
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Posted on Facebook, Derek Hanson found what seems to be a really good software company that provides some tools that could be very useful for us. Derek's description from Facebook post: "Need to convert BWFs to MP3s for transcription? There's a new app for Mac or PC available from VideoToolShed that converts BWFs into MP3s with TC stamp. It was a custom job for me but now it's available to the public on their website for $25. Works great, converts the files fast, makes nice and small mono MP3 files. For me, I didn't want to give up card redundancy on the 688, at the time there was no software on Mac that could really do this. PS.. I don't work for them." V…
Last reply by Philip Perkins, -
- 5 followers
- 76 replies
- 9.5k views
I hate to admit this, but I had a take not record for the first half on a pretty intensive circled take with a 20 minute background and animal reset and only one or two opportunities to shoot it. I didn't quite push the roll switch all the way up and didn't notice it for about 30 seconds. I mixed the take perfectly and it sounded great, but half of the track wasn't on my machines. A world of pain and cross eyed looks could be on its way to me.. Until I remembered that I have a good hard line signal going to my buddy Dan from Videohawks. I walked over to Dan with my hat in my hand and gave him a thumb drive (with my free hand) and politely asked that he give me the playbac…
Last reply by Joe Riggs, -
- 1 follower
- 11 replies
- 1.7k views
Just finished a shoot in Kew Gardens - call sheet stated to work around flight noise issues. The loc is directly underneath the Heathrow flight path. Luckily, we were only recording links 30sec-1min in length so stuck a radio on and tried to go between the worst of the flight noise (the ones which caused particular issues were the planes where you could see faces in the windows!). Has anyone filmed at this location, and if so, what was your workflow for shooting anything longer than a minute or so? Try and shoot in 'chunks' in between the worst of flight noise (very difficult in an interview situation I guess), let it go and rely on post smoothing cuts with more fli…
Last reply by Reg, -
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- 8 replies
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Hi, I am a location sound guy for film. I am very interested in VR audio/recording/post-production and have been researching about it for a while now. I wanted to know what the best place to start. Any recommendation for where i can find more information about VR audio?? It is hard to find a good information source(like website dedicated to it or smt) for total noobs like me. Thank you
Last reply by Ze Frias, -
- 2 followers
- 10 replies
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Hello Brain Trust, I am starting a project next week which will be shot on 35mm film. Production has left it to me and the film lab handling the telecine to figure out the workflow as they have not hired an editor or post production supervisor yet despite my urging to do so. Also due to shooting starting Tuesday we will not be having a sync test or workflow test despite the lab and myself wanting one below is what the lab is suggesting let me know your thoughts. You will be shooting film at 24FPS, your options for dailies would be 23.976 or 24 FPS depending on the framerate you are planing for editorial. If you decide on 23.976, your Audio will need to record…
Last reply by ProSound,
