Workflow
discussions about workflow from production through post-production
736 topics in this forum
-
- 3 replies
- 3k views
Sound mixer didn't record poly files, so I'm left with a bunch of separate mono files for every take, which I'd like to combine into polys. What's the most efficient workflow with Wave Agent to do so? Is it possible to bring in ALL sound files for day 1 and it will create polys? Or do I have to keep it take by take? So Take 1, bring in the three separate mono files, combine...Take 1A, bring in the three separate mono files, combine, and so on. Thank you
Last reply by pindrop, -
- 9 replies
- 4k views
Greetings I am about to step into the oddest inquiry a director has asked me up to now. I need to record a guide V.O. first thing in the morning, ramp up it's speed at 50 FPS and then hand it over to the actress to listen back for 3-4 hours in order to be able to lip sync ( with her lines of course ! ) at 50 FPS when we 'll film her scene. The scene to be filmed is a sequence which will be filmed native at 50 FPS and kept at 50 FPS. Her lines will be synched with a V.O. that cannot be the final one when we'll be filming her tomorrow. Just stepped out of the pre production meeting and had a thorough conversation with the director discussing about the fact that sound will …
Last reply by filmfreak, -
- 1 follower
- 16 replies
- 2k views
All the other departments get last looks. How unfair. So, eh...why not 'First Listens'? All too often, some offensive aural artifact (like a buzzing HVAC register, rat squabbles in the walls,) isn't audible until every one settles.. So, in some shoots ~ usually small movie projects, whenever possible, I've (after a little diplomatic quorum with the AD and the DP, where I offer them more time for beer at the end of the day), arranged for first listens. Yep, I light up the mics and have the AD call for settling, and thirty seconds of no work, so I get a chance to discover anything that's going to take a while to quiet. This way, I can get working on it concurrently to the…
Last reply by pkautzsch, -
- 1 follower
- 3 replies
- 1.9k views
Hi, I'm just asking for a friend... he's looking for a good book, or guide, or something similar, concerning the postproduction of a movie, not only by sound perspective but in general. So, scheduling, budgeting, all the correct steps from the set to the completed film that goes in the theaters. I've tried to search on the forum but I wasn't able to find something appropriate, so just asking. Thanks in advance, Vale.
Last reply by vale, -
- 45 replies
- 7.8k views
I have a shoot coming up using Panasonic hdx900 cameras. I know that Panasonic defaults to 29.97 for tc. In an email to the "tech person" I mentioned that and wanted verification that 29.97 would be fine and their response was: "we only shoot 720 59.94 we expect you to do the same" After a very polite email trying to explain to the person that they have no idea what they are talking about I get this: "we shoot 720 59.94 drop frame this is in our style guide that we sent out we will have major issues if that is not adherd to" How would you proceed. By the way the shoot is tomorrow and ive been trying to contact someone regarding this for over a week
Last reply by Marc Wielage, -
- 3 followers
- 17 replies
- 4.8k views
What's the ideal procedure for recording intense scenes where actors overlap their dialogue naturally, even when one of them is off camera or it is an over the shoulder shot. I've been getting a number of scenes lately where this is occurring and obviously this makes each cut jarring. For example: An intense scene, we are over the shoulder of Character B, looking at Character A. Character B is approaching Character A to kill her. Character B has most of the dialogue but Character A has a couple lines and is also supposed to breathing really hard and be scared. Let's say, the director wants the best sound and most flexibility in post so he is willing to ad…
Last reply by Rachel Cameron, -
- 1 follower
- 30 replies
- 4.9k views
Does anyone here have any experience related to sending timecode wirelessly to a camera audio track and the workflow of using audio timecode in post? Timecode sync is essential for a upcoming production i will be working on and the style of Doc won't allow for TC slate or anything like that. Using the 664 I will be sending audio via 2 channel hop. I would like to attach a lockit box to ensure sync but there will be no TC I/O on the camera unless a extension is added. I'm pushing for the extension but if the budget won't allow it I, would the below set up work? 664 TC Lemo to TA5 female into the Lectro SMQV, then from the Lectro dual receiver to camera, …
Last reply by ninjafreddan, -
- 1 reply
- 883 views
Hi. We are doing a shoot in Gambia. Does anybody know what frequencies to use? Regards Benny
Last reply by mikewest, -
- 1 follower
- 12 replies
- 1.8k views
I'm trying to get a better understanding of how audio and frames rates work together, take an H4N for example, I could record video at 23.976 or 29.9, and the audio file from the H4N would match to either one of those. I don't have to set a frame rate for that (I'm not concerned with jam syncing time code or anything). However, what happens if your film is shot and edited at 23.976 but your sound designer does all his work in 29.97? Will there be a four frame sync difference when you get the audio file back? I'm not familiar with most DAWs, do you need to set a frame rate there before you begin work?
Last reply by Joe Riggs, -
- 16 replies
- 1.8k views
I have a project where they recorded they recorded 2 channels to a sound device - (1 boom, 1 lav), at they same time they also feed a direct feed from the mixer into the camera, delivering the same 2 channels (1 boom, 1 lav). Typically, I would always sync to the sound mixers audio but since in this case it is only 2 channels, with a direct feed from the mixer to the camera, and when evaluating the recording, they are nearly identical, with the feed to the camera actually being a little stronger. Therefore, I'm inclined to use the feed from the camera this time. Is there anything i could be missing by going this route? Thanks
Last reply by Prahlad Strickland, -
- 7 replies
- 1.8k views
So I've got a live recording gig coming up - a radio play, ala Prairie Home Companion, and I wanted your advice on the type, amount, and placement of audience microphones. I have access to a couple 416's, but there may also be a possibility to rent additional mics. The PA is hanging above the stage. What would be the best way to capture the audience in this small venue? Check out the attached picture. Thanks!
Last reply by Constantin, -
- 19 replies
- 3.7k views
After a fruitless search through old threads, I resort to ask here myself: We will be filming in a boxing gym for two days, with several real bouts scheduled. I need to cover the sound from all angles, but there can be no booming whatsoever - there will be a single camera angle –very wide – but the producer wants the best possible sound. We did a similar shoot a few weeks ago, which was broadcast live on TV. They had a remote truck and a number of mics, and I was able to tap into the tracks they were using for the broadcast. They had three mics (B6s, according to what I was told) on the mat and four hanging mics roughly in the middle of the mat, approximately 8' a…
Last reply by Chris Woodcock, -
- 5 replies
- 2k views
I usually use a bunch of PZM's split in-between students but client is requesting using Hanging mics. I've never used these before. I feel like it would be a mess rigging them and would not get the proximity of table mics. Any advice would be appreciated. Just found this useful http://shure.custhelp.com/app/answers/detail/a_id/174/~/how-do-i-mic-a-classroom-for-distance-learning%3F
Last reply by chris_bollard, -
- 1 follower
- 16 replies
- 2.5k views
I'm working on coming up with a system to manage sync wirelessly over 2 to 3 cameras and 2 or more audio recorders. A little background: I'm traveling around this summer working as the audio department recording music festivals and performances of various genres (mostly folk/etc). The cameras and the audio recorders have the distinct possibility of being spread somewhat far apart, and should be mobile. Currently, the setup I'm looking at would involve sending TC over Wifi from one central, accurate generator to an iDevice attached to each camera/recorder using Movieslate. From my research, this is the least expensive actually workable solution. Pretending for …
Last reply by CraigF, -
- 1 follower
- 7 replies
- 1.4k views
Hello, Posting here for colleague Chris Munro. Has anyone done any studio films in the US, shot on HD, at true 24fps? Thanks, Robert
Last reply by Marc Wielage, -
- 3 followers
- 22 replies
- 5.4k views
Was just curious to know if anyone does playback on a film set with Pro Tools and what type of setup you're using for it. How do you handle timecode for the Sound Mixer? cheers
Last reply by David Silberberg, -
- 3 followers
- 49 replies
- 11k views
So I'm in discussions with a production, that needs to have some playback on set. I searched through the site as well as google and didn't come up with anything. If you know of specific threads I would love the links. It's for a typical square dancing scene. While I feel comfortable as a mixer in narrative and broadcast (my bread and butter) situations, I've never done playback on a set. Playback in broadcast usually is worked out in pre-production with the script and cues, editing them and programming them into a playback machine. I can imagine it would be similar for a film production but I want to know what is the standard. So if someone would be kind enough to be…
Last reply by JonG, -
- 1 follower
- 11 replies
- 1.8k views
What type of metadata do you enter on set and in what " format"? Here in Sweden it's mostly slate/scene (entered in the scene data) take and then any additional info like PU for pickup, example 0021/44/4 PU or 0021/44/IV PU. Is this similar or very different where you work? Examples and if possible the reasoning behind the how and why is much appreciated! Is this really a euro/US divide or is it different within US? Here in Europe. I know it's different, but the above is what I see here most of the time.
Last reply by Todd Weaver, -
- 1 follower
- 17 replies
- 2.8k views
What do you think about using ms mics today? A rerecording mixer said to me they normally prefer mono sources (as in ortf or ab setup) then ms. he told that with ms sometimes they have problems of phase and position in 5.1 mix. so ms is ok for stereo products, but not for surround. What do you think about that?
Last reply by myke2241, -
- 2 followers
- 10 replies
- 4.1k views
Just curious as to how we've all wired basketball players for in-game/training scenarios? Couldn't find any other forums covering this in the brief moment I searched the site. Thanks! Steve
Last reply by beartrax, -
- 1 follower
- 15 replies
- 19k views
Hey Guys! Question about timecode that has been recorded onto a nonlinear digital audio track via a recorder's analog mic/line input! I am entertaining the thought of sending timecode to a Zoom H4n recorder with a lockit box. But wonder if done correctly, can this prove to be a hassle anyway for editors in decoding the TC? I am sure retrieving timecode from an audio track can be done, but is it always an easy process for the editor? Can decoding timecode always be done with little issue on Pro-Tools, AVID, Adobe Premiere, Final Cut Pro, etc? Or does retrieving timecode from an audio track require extra work such as searching the net for the right decoder plug-in…
Last reply by chrismedr, -
- 3 followers
- 17 replies
- 3.2k views
I'm interested in finding out how people decide to wire an actor/actress. Do you wire everyone all the time? If so, do you do it straight at wardrobe or do you wait for the actors to come to the set and do it there? Or do you decide on an ad-hoc basis after the first rehearsal (or when?) to wire an actor? If wired, will you always record the wire? Even if you feel like the mic doesn't work very well? How long do you allow yourself (are you allowed) to put a mic on someone? Or rather, how long on average do you need to wire someone up? I know it sounds like I'm researching a book or something, but I'm not. I have my own answers to many of these questions,…
Last reply by Philip Perkins, -
- 7 replies
- 2.4k views
Hey guys, I'm working on a project with 3 cameras (Sony F5, Sony PMW300 and Canon C300), all running at 23,98 / 1080P , locked with 3 Denecke SB-T's. The SD 664 is the master clock, jamming the SB-T's with 23,98 timecode. C300 and F5 are holding sync, but the PMW300 is drifting. Even stranger is the fact that it outputs 29,97ND! Pascal Van Strydonck mentioned a similar problem in this thread below, but I cannot do the same workaround he did, since I'm using 3 cameras. Does anyone knows what is going on? I assume it's a camera fault. Thanks!
Last reply by Jim Gilchrist, -
- 5 followers
- 96 replies
- 25.8k views
Hi everyone, I'm new here on jwsound. (first post). I have a job coming up that has a lot of interior car scenes with dial (while driving). I was wondering what the best way to record them might be. What kind of mics, placement etc.? Would love to hear some of your tips and tricks for a tight squeeze situation like this. What worked, what didn't work … Thanks.
Last reply by Christopher Mills, -
- 1 follower
- 13 replies
- 1.7k views
so I made the jump and got me a Nomad 12 for my bag. How do you guys with a Deva / Fusion on your cart and a Nomad (or other Zax-recorder) in your bag handle the workflow with the primary and / or mirror-card? When going from cart to bag: do you pull both cards to continue your recordings into the same primary folder? Would make sense. Post couldn´t even tell which machine you used. Pulling the primary card on a daily basis makes me bit nervous though. Just changing the mirror card doesn´t make sense really does it? The Nomad would start with Seg001 on it´s own primary card which would lead to double named files from two recorders?
Last reply by cstauffer,