Workflow
discussions about workflow from production through post-production
737 topics in this forum
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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, -
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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, -
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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, -
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- 76 replies
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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, -
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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, -
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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, -
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Looking to set up a new PL system on my new show. Prepared to wear a wire, but want to have the ability to mute on the boom op side. Tried out the Lectro REF Mute switch, but didn't seem to work for me. Thinking of G3's, but every channel I tried seemed to interfere with our Lectro IFB feed. Anyone have a setup of their own that they would recommend?
Last reply by Jim Gilchrist, -
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I realize that most of our problems are the opposite, but I would love to hear some thoughts and comments on the mic being too close to the subject. I generally operate on the basic principle of 'camera perspective' informing my decision. But Robert had an intriguing comment (thank you RPSharman) in another thread, stating: "with some of the mics we use today, the frame line might be too close". On an episodic I did recently, there were several ECUs (faces only), where I had the MKH50 at the frame line for some intimate lines. I was half crazed from cicadas, and was glad to get the damn thing in there like that. I thought the signal was amazing. I could practica…
Last reply by Ken Wilkinson, -
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Got an interesting gig doing some car work tomorrow, mixing from follow van following/leading picture car. LPDA's Shark Fins pointing at picture car feeding a PSC six pack. One of the receivers is a SRB & other SRC so it will be cool to see any performance differences. I have redundant whip receivers and recorder hiding in picture car TC locked for safety also feeding a pix240 a 2 mix for client playback. Fortunately it's only two talents, so I should be safe delivering a LR mix in the unattended picture car recorder. Just need to decide whether I like my cubs or wires for that. With seat belts on my hunch is cub's all day. Fortunately they gave me a audio utility for…
Last reply by Michael Wynne, -
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Hi there, For a shooting tomorrow, I will be using my M/S rig (Sennheiser MHH30+MKH8040) to record stereo using my Sound Devices 744T, after the shoot I will have to decode all the files in Pro Tools to a normal stereo files and send them to the video editor. Is it possible in Pro Tools (Vanila 11.3) to decode those files to normal stereo while maintaining the original timecode? Hope it all makes sense, any help will be appreciated! Itse
Last reply by Constantin, -
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Those using DPA Slims, what are your go-to mounting methods? Both with and without using a DPA concealer?
Last reply by Mack, -
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Is anyone on Oz publishing? It supposed to be a directory for crew etc. If so, can you guys tell me your thoughts and how you feel about it. Thanks. Ozonline.tv is the site Sent from my SAMSUNG-SM-N900A using Tapatalk
Last reply by ndg2k005, -
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- 18 replies
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I'm trying to get a true sound of a race car going up through its gears but I'm finding it much harder than what I thought. To get the sound I want I need to mix both engine and exhaust notes. I know some productions have been able to get the car on a dyno but unfortunately we can't get the car to one so it has to be done on a race track. I've tried mounting lav mics (with fluffy wind jammers) in secluded sections of the engine bay and under partially secluded sections of the back of the car but the wind still just pummels them. The engine bay is a nightmare as the mics are hammered by the airflow but also from the heat of the engine which is like a furnace. …
Last reply by mikewest, -
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Hi, I've searched the site but did not find anything specific about recording walla; any advice or suggestions appreciated. I am prepping to record walla for a number of scenes; some with just 2 BG actors, the largest with 6-8. I did production sound for the film and had a sennhesier 416 or Octava MK-102 on the boom, and tram 50s on the actors. We will be doing the walla in the same locations I am wondering about a booming technique; how closeup, setting a volume level. My plan would otherwise be to set a level as if I am micing them for dialogue, then pull the boom back to get a greater percentage of indirect sound. I was also thinking of plantin…
Last reply by Mirror, -
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Hi All, Post Production Audio Question: I have come across some post audio workflows and the topics of submix, buses and loudness normalization. It's a side of post audio I have not seen and it does provide cleaner and fuller audio, but I do have some questions about this workflow: To do the EQ, noise reduction, desses, etc.. for each audio clip is better to do a submix bus for each audio clip and do the EQ and other stuff OR do a submix bus for that one track and do the EQ and other stuff? and after the submix bus then do the loudness normalization? Any answers and suggestions are welcome. Thank you.
Last reply by Jay Rose, -
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Hey guys! Just want to know the general ball park range on what an op should charge for comercials and such. Hourly/daily etc. Just want to make sure I'm on the same page. Lol Sent from my SAMSUNG-SM-N900A using Tapatalk
Last reply by ndg2k005, -
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I am about to work on a tv program where there is sometimes more than two interveners with dialogue (like an organised group of people). Although I have a SD 442, we are recording straight to the camera, a Sony FS7, so only 2 audio inputs. Coming from film production, my approach would be, in general, to wire the two interveners and boom, but being the first time on a TV program, I am unsure what are the usual approaches. Is it common to mix for example 2 lavs into one channel and the boom on the other? Or simply give priority to booming (which sounds more logic to me)? Thanks in advance!
Last reply by Melissa, -
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- 11 replies
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Hi all, I'm working on a short film (very low budget) next month and have been to scout out the locations the other day, I found out that both exterior locations are going to cause me problems as ones next to a noisy road and the other is next to a scrap yard (lorry's and wagons moving about quite regularly) I am an amateur sound recordist so I dont really have much access to different microphones, my kit for this is going to be; Rode NTG 2, Rode NT4, 2 Sony radio mics, Tascam DR 60D, boom pole and blimp Just wondering what the best sound quality I could achieve is (radio mic or shotgun) Thanks in advance and let me know if you need anymo…
Last reply by Marc Wielage, -
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Hey Fellow Sound Catchers... I am trying to find apps that will work as a sound logger/reporter on an android [nexus] tablet. I know there are modules for MovieSlate and some other IOS apps for the big A, but I haven't come across any 'droid ones. It seems pretty straight forward to make some sort of dBase, but the lazy me and the over extended me is looking for an 'off-the-shelf' logging/reporting pgm. Any bright opinions?
Last reply by Dave Pullmer, -
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There is no 23.98 framerate in options on my Sound Devices 744t, only 23.976. When I'm told that 23.98 is required on a shoot, can I be assured that the above rates are the same. 23.98 is just a rounding off of 23.976. I read on-line that 23.976 can cause some issues with certain software in post where 23.98 is the requested framerate. Scott
Last reply by Marc Wielage, -
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For those of you using the BST75 from your Comteks, how many of you are using "1/4 " TRS input Versus XLR " Reason I ask with proper gain staging sending line level to the unit it always sounds a tad blown out. Is this as simple as an impedance mismatch ? I have a XLR to 1/4 inch impedance changer ( low to high ) on the way to me now to see if it makes a difference. It's subtle but driving me crazy.
Last reply by Michael Wynne, -
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SInce the other topic was quite successful, i have some more stuff to ask... I work with a lot of different camera ( like all of us ) and a lot of camera ops. It is nearly impossible to get the same story twice, even about the same camera, about which camera does true 24fps. A lot of camera i work with actually do 23.98fps even when set to 24fps. Because i don't always have the time to verify, and since i do a lot of single system, i would like to compile a list according to our common knowledge about specific cameras and if possible there settings. Let's begin with a list of camera and then you could chime in and let us know which one actually does or doesn't do…
Last reply by rodpaul, -
- 14 replies
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I've been trying to contact Courtney for some time about BWF Widget Pro operating under Win 10. I'm having trouble with it. Upon searching this group I find the Senator many years ago thanked Courtney for making a MAC version. Upon going to the website http://goodsound.software.informer.com/ it looks like a bunch of malware surrounding our beloved BWF Widget Pro. What is the story here? Is Courtney still on this group? If so can you please email me, I'd like to purchase some more seats to this MAC version if there actually is one. Thanks
Last reply by cmgoodin, -
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- 7 replies
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We are experiencing a considerable picture to sound lag in video village. I am feeding a scratch track to a Sony F55 using an ERX, which then feeds via SDI to the Q Take. Have done this on many occasions with no problem. The Video Operator tells me everything is set up correctly; but I wonder! Any ideas of what setting in Q Take is wrong?
Last reply by thope,