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Workflow
discussions about workflow from production through post-production
737 topics in this forum
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Duplicated elsewhere. D.
Last reply by tourtelot, -
- 2 followers
- 27 replies
- 7.6k views
Guys, i have a good question here. DId a shoot ( 3 days and then 2 days ) on a Canon C300. The order was sound on the camera ( dialogue ) and Isos for Dialogue and some Sound effects and Ambiance on the recorder. Used a Lectrosonics SRA5P and a Denecke SB-3 on the camera. Now Post requested 29.97 Drop frame. I set the denecke to switch 9 ( 29.97 df ) and my 788T to the same, and also set the camera to 29.97 and DF. Hooked up the SB3 and the Canon confirm receiving TC by displaying an E next to the running code. Everything looked synched. Jamsync and check at lunch and end of day everyday, all was good. Got a call from Post. It looks like when i roll sound for…
Last reply by Hala, -
- 4 replies
- 2.1k views
Hi, New to the community and learning quite a bit about location sound mixing. I was hoping someone might be able to shed some light in regards to using a timecode device with the following gear. I would like to add Tentacle Sync(s) and/or UltraSync One(s) to speed up post production within Davinci Resolve Studio. Since the Sennheiser AVX system introduces 19ms of latency, I would have to compensate the boom mic for that latency within my Zoom F8/F6. If the audio sync is now off from the video timecode by 19ms, how can I address this before bringing the project into my NLE? Is there some kind of compensation within the recorder or timecode device that compe…
Last reply by Jim Feeley, -
- 2 followers
- 53 replies
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I'd like to re-introduce a subject that is of particular interest me currently and it pertains to gain structure in the wireless workflow from talent mic to camera send. I have always been told to output from Lectro receivers at a low level and to input to the recording device (recorder or camera) at mic level. In a past post, reproduced below, John Blankenship makes a convincing argument against this and I'd love to hear further discussion. JB Post: For instance, let's say you are running a mic into a mixer, from whichyou have a line out cable into the Lectro transmitter and then goingmic level from the receiver into the camera... Here's whatyou are doing signal…
Last reply by Mattias Larsen, -
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Last reply by mono, -
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Last reply by mono, -
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Recently I commented that I was using Adobe Audition as my software to process recorded sounds and (mostly) human dialog. I referred to Audition as a DAW. Most of the replies seemed to say Audition comes up short as a DAW..... I am on a Mac Book Pro btw.... What is your recommendation for a beginning sound recordist? I am a photographer who has gotten in to video short films or documentary style video and I am using the Zoom F8n and the F6 to capture the audio and sync with video. My audio has, for the most part, been clean and honestly acceptable... Any comments, criticism or suggestions will be most appreciated....
Last reply by Jay Rose, -
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- 8 replies
- 1.6k views
in the quest to get the best dialog recording i can get, i'm trying to learn how to reduce those pesky early reflections. i'm a fairly new sound recordist and thus far most of my gigs have been in boxy rooms with nothing but hard surfaces to reflect. i'm using a super-cardioid mic (sennheiser mkh-50) and getting the best/closest on-axis recording i can, and my recordings sound very good, but they can be better by getting rid of those early reflections still being picked up. i'm thinking about getting some proper sound blankets (those 'producers choice' are what i'm leaning towards) and reading up about room treatments but these are focused on home theatre situ…
Last reply by Wandering Ear, -
- 1 follower
- 4 replies
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Hey guys/gals, I recently had a shoot where I had to place a lavalier on a high-profile talent as part of election campaigning. Often I would only get access to the talent right before they were about to come out to the public, the same time that the producer wanted me to be covering with the boom. At one point, the producer said that a lot of sound guys just keep all their gear on (harness and mixer etc) because he was frustrated by the time it took me to get my gear on afterwards. It didn't seem appropriate to have all my gear on when trying to put a lav on talent, especially a high profile one that already disliked having to deal with sound pe…
Last reply by azw, -
- 1 follower
- 19 replies
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Hello on set today yet another debate about the naming of the slate for pick-up takes... Not the first nor the last I am pretty sure, especially when working with newcomers continuity person. There seems to be 2 schools of thought: The ones who name it scene/shot/take pickup (like scene 100 shot 2 take 3 pickup after a 100/02/T03 take. Then onward 100/02/ take 4 pickup...). The other ones -including myself - who prefers to name it scene/shot/pickup/take (starting from take 1) as the point is to do a pickup of the shot, not of the take, so take number of the pickup can start from 1 (So scene 100 shot 2 pickup take 01) and increments normally if ne…
Last reply by aginzo, -
- 1 follower
- 13 replies
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Hi all, For episodic TV, is it helpful for post if we keep each character on the same channel across different scenes? For instance. Each character would always have the same radio mic and therefore go on the same track. So "George" would always be recorded onto track 5. Obviously as each scene has a different number of characters, track 5 would come in at different positions in the polyfile. But can the metadata be used to always bring the same character in on the same track in post and be useful for our post brothers and sisters?
Last reply by Philip Perkins, -
- 13 replies
- 2.3k views
What is your workflow for routing the video assist playback through comteks?
Last reply by Mike Westgate, -
- 1 follower
- 5 replies
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I am starting a new movie this Saturday and wanted to get some advice on a new work flow I am going to try. I have my recorder set up for 12 channels, I have never used that. Should I look for any gotcha's using the12 channel mode? I have a stable of Sennheiser 5220's and a couple of sk250's that are still working well. I have a mixture of 3041 and 6042 receivers. I usually put and record the boom on x2 and label it boom and was thinking about feeding channel 7 from a 6042 to that channel at line level. That way I have a constant monitor for that channel. I use x1 for comteks. I do a RL mix of the lavs and supply ISO tracks. I do hav…
Last reply by newzhack, -
- 1 follower
- 16 replies
- 2.6k views
Hey People, I'm a newer mixer but I've been a studio engineer for many years. Just moved to NYC and through connections and other smaller jobs I got a feature Documentary. It will be taking me inside mildly high profile courtrooms, into high profile law offices / transporting SUV's. I feel confident in my kit (Mixpre 10t / Tentacle Sync / 416, MKH 40, Sanken Cub / G4 500 wireless x3 & Lectrosonics LMa/UCR 100 x1). Things I am NOT confident about: Which Mic to use in a courtroom. Pretty sure it'll be packed and not massive, so do I go with the directionality of the 416 or avoid phase problems / having to stick out with movement and mic size and go wit…
Last reply by Derek H, -
- 1 follower
- 4 replies
- 1.9k views
I'm off to China and Singapore next. What are the legal wireless frequencies out there? Anyone know please?
Last reply by Soundo, -
- 7 replies
- 1.7k views
Hi guys, was wondering if this mic could be used for dialogues on a sennheiser g3 tx, or a lectrosonics smqv tx in noisy environments. i was looking for a cardioid lav for noisy situations. looking everywhere but found no answer regarding dialogue recording for film and broadcast purposes. Pls advise .thank you in advance https://www.countryman.com/isomax-2-all-purpose-microphone/
Last reply by Rick Reineke, -
- 1 follower
- 15 replies
- 3.1k views
The DP on an upcoming interview job says the client suddenly wants to monitor on a laptop via an app called Zoom. At this point I have no info on what laptop will be available. I have a Mac and can only test on it. I have had no luck getting a feed from my 633, line or mic from main out, into the Mac. I got an adapter with trrs into the headphone jack that splits to two trs jacks, one marked mic and one headphone, but I cannot get the laptop to recognize the external mic. Does anyone have a clue? Thanks.
Last reply by TVPostSound, -
- 26 replies
- 3.4k views
I recently got a Zaxcom Deva ii for free, and although it is old, I love the sound, functionality, and form factor and want to use it for multi channel location music recordings, and for sound on small scale documentary shoots. It came with the DVD-RAM recorder. The problem I have is I can't work out how to access the files on my PC. I first tried removing the internal hard disk and plugging in to my Windows 10 computer via an IDE to USB interface. Result; no files to be seen. Next, I bought some DVD-RAM discs and tried mirroring the HDD; this has worked as the files play back on the unit from the external disk, and by visual inspection, the tracks are obviously there on …
Last reply by Christian Shaw, -
- 1 follower
- 2 replies
- 1.3k views
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, -
- 3 followers
- 19 replies
- 5.3k views
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
- 1.6k views
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, -
- 1 follower
- 17 replies
- 2.6k views
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
- 4.8k views
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, -
- 11 replies
- 4.6k views
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, -
- 1 follower
- 15 replies
- 3.4k views
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,
