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Workflow
discussions about workflow from production through post-production
736 topics in this forum
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- 1 follower
- 134 replies
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I got a call today for a job on Thursday which the producer thinks might be a 5D shoot. Unfortunately, he doesn't have all the info yet. I've asked for a contact number for the editor handling post which I may, or may not, get tomorrow (Wednesday). If this is a 5D shoot, I'll run double-system, of course, and use a time code slate if possible. What is the latest for this camera? Did they ever implement 23.98 or 24fps as was rumored? Is it still strictly a true 30fps? For sending reference audio, is the mini-jack input at mic level only? How is the input level adjusted on the camera? I figure a Sennheiser G2 with a hot shoe mount would probably be a good …
Last reply by Todd Weaver, -
- 3 followers
- 216 replies
- 18.9k views
posted by fellow sound mixer Frank Kruse on the avid forum (see the link for detailed information): Hi, I've finally found the time to trace an issue we've encountered for years now but that we always manually "fixed". Conformed original BWAVs are out of sync by up to a frame compared to the AAF. Here's the normal workflow: -Production sound recorded on Cantar, Deva, SD788 etc. Direct import into AVID MC converts to MXF audio. -Copy all AVID audio media to PT and transfer cut via referenced AAF -Expand to tracks using original BWAVs from production recorded. So far so good. When listening to the conformed tracks against the AAF there are random syn…
Last reply by Wandering Ear, -
Do We Still Need a Production Sound Mix Track when Multi-Track Recordings Are Requested? 1 2 3 4 5
by jon_tatooles- 8 followers
- 106 replies
- 14.9k views
I am putting together material for a training seminar, and I am at the point of discussing projects demanding full multi-track (iso) audio recordings from production. In this scenario, how relevant is a production mix track? Even when post isn't asking for it? Thoughts?
Last reply by Philip Perkins, -
- 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, -
- 12 followers
- 94 replies
- 28.8k views
Rado's recent RM-11 thread inspired me to share my own COS-11 mounting technique. It's become my go-to mount for most wardrobe choices, works well mounted on both clothing and skin, and (knock on wood) it's been consistently trouble-free for me. A-What I start with: 1-The wider top-stick toupee tape, cut into quarters. 2-Standard thickness moleskin, cut into base, and top layers, with top layer being a little wider than base. 3-Thick padded moleskin, cut into small "bumpers". B-The "pre-cuts" that I keep prepped in my "lav-be-good" bag. The top-stick stuck to the base layer, with the peel layer kept on until mic selection and color are decid…
Last reply by John Blankenship, -
- 5 followers
- 81 replies
- 16k views
We work in an industry of large ego's and personalities, usually in high pressure environments. Inevitably, arguments and tirades make their way onto set. What have you seen? How have you diffused the situation? How would you deal with an actor throwing a transmitter across set or a stressed out AD that insists on rolling without sound, etc. Would love to hear the horror stories and the creative solutions you've used on problematic sets.
Last reply by IronFilm, -
- 2 followers
- 78 replies
- 6k views
Hi all, I'm starting a feature in a month. In a recent meeting re sound work flow with the sound designer, the dialogue editor, the picture editor and myself i came across the following that surprised me a little and to be hones upset me abit. The sound post people wanted to see if the editor could cut the picture with all the ISOs so they wouldn't have to reconform after. That I understand as it would save time, specially as this is not a big budget project and they don't have an assistant. But when enquiring why they wanted all the ISOs present in every take, bot the dialogue editor and the sound designer confirmed to me that they wouldn't be using my mix at all, that…
Last reply by studiomprd, -
- 6 followers
- 77 replies
- 21.4k views
Hey Guys, Curious what people are using for your boom operators to listen on. Comtek? Lectro IFB? Zaxcom IFB? Hard wired? (duplex cable?) Boom box? Or maybe listen off the signal pre-recorder with a SD MM1?
Last reply by JesseKaplan, -
- 3 followers
- 76 replies
- 9.7k 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, -
- 3 followers
- 75 replies
- 10k views
Hoping to get some insight on the following: First off I'm in post and I'm used to getting 1 audio file per take, and that file will included all the audio tracks recorded for that take, so when I drop it in the timeline, all the tracks are connected. This production sound mixer has been recording each track separately, so for scene 1 take 1, I'll have 4 files: 001Take1 - boom 001Take1 - lav 001Take1 - lav2 001Take1 - lav3 So now I have to select all four files, bring them into the timeline and connect them for each take. Not the end of the world but just really ineffcient amd unless they are using a H4N, I've always received one audio file, w…
Last reply by Max Futterman, -
- 2 followers
- 72 replies
- 7.6k views
This question goes out to those doing feature movies and/or episodic TV who have managed to wean the production off DVD-RAM. I would like to know some of the details regarding how many CF cards you typically have on hand, do you cycle them back and forth from production to post and re-use, who purchases the cards, are they considered expendable and so forth. Also, has there been any resistance from the studios (and this only applies if the cards are being returned and re-used) that they no longer have a stable archivable media (like tape or an optical disc) for each "sound roll" on the production. I have quite a few other questions but we'll start with these.
Last reply by Richard Lightstone, CAS, -
- 2 followers
- 68 replies
- 20.2k views
What are the advantages of setting wireless mikes to line level vs. mic when it comes to dialog scenes? My preference is to always set them to mic for any show where I am the main mixer. About 60% of the work I do is in reality TV and when I day-play for other reality shows that have their workflows already established, I've noticed that most of them have their mixers switched to line level for their wireless receivers. I am not one to disturb another show's audio workflow, and so I will mix the wireless mikes at line level for the whole day--No problem. However, what my ears tell me is that low level passages of dialog do sound very faint compared to when wireless mi…
Last reply by soundtrane, -
- 3 followers
- 65 replies
- 8.3k views
Here's a question for location sound recordists who have worked on, or are prepared to work on, shoots in which the principal camera is a digital single lens reflex camera or, with the release of the new Leica M, digital rangefinder camera. From a sound recordist's perspective, what are the best practices? In an ideal world, what would you tell the producer or director of a video using one of these cameras what you want him or her to do to get good sound and a smooth workflow from capture through post-production? I'm aware of the pinned thread Canon "5D shoot workflow", which contains a good number of posts about poor practices and frustrations. The idea behind this t…
Last reply by mikewest, -
- 6 followers
- 64 replies
- 9.5k views
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
- 62 replies
- 6.4k views
I will be working on a scripted drama shoot. I have worked on dramas but most of them were semi amateur. The shoot starts in 3 days. What should I ask from the director other then script,camera/sync information? What is your usual workflow when working on dramas? Thanks
Last reply by RadoStefanov, -
- 60 replies
- 8.7k views
Hi, So I have job coming up with the canon 5d mark ii camera. Anyone know what frame rate to set my 744? I guess 29.97 ndf? Thanks, Leone
Last reply by studiomprd, -
- 60 replies
- 8.2k views
I've been talking to a producer about a gig coming up on Saturday, recording some live music to 2 C300's. I've strongly suggested hiring in some lockit boxes to keep both the cameras and audio in sync, but they seem pretty confident they won't need them (and I'm not). They're not looking at using the whole take, and just using excerpts for a promo video, will it be manageable in the edit to send them a scratch track to each camera, even though it's very likely the files on each machine will be different lengths?
Last reply by ccsnd, -
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- 57 replies
- 5.8k views
I think I am still missing something. I get that if there is a risk of the "green flash" or other internal camera confusion, then tri-level is recommended. Perhaps if there is some sort of live switcher being employed on set or on a tape show if the original tapes are being used to tape-edit the show (don't know if this is ever done anymore), that providing tri-level sync/genlock to multiple video cameras may be considered important. But in a narrative form, with current NLE systems, in what circumstance in the post process can an error occur if tri-level sync was not fed to the multiple cameras? Thinking of it like a multi-camera 35mm film shoot, with dailies and…
Last reply by studiomprd, -
- 2 followers
- 57 replies
- 14.6k views
So I have an actress friend who is going to make a music video in the near future. I told her I'd help out. I don't want things to get too complicated, and I have no idea what kind of camera they are going to use. I own Protools Micro, so I can have music from LEFT (out to a pair of 450w JBL EON) and TC out of RIGHT (broadcast to my Denecke slate with a 216). Is it any more complicated than that? Can it even be easier with waveform matching? Do I even bother with the TC slates? I don't really want to bring my whole cart, since it's on a show. The editor is "proper" feature editor. Also a friend. So he ought to be able to handle any workflow. …
Last reply by JCC, -
Roll number 1 2 3
by takev- 55 replies
- 7.8k views
Hello everyone, So a couple of weeks ago I saw the video about the CAS meeting for non-linear workflows. Roll numbers caused a heated discussion. The mixers don't have a use for roll numbers at all. The archive people would like a roll number for each day, so they propose the date, which fits inside the 6 digit roll number, they don't care about multiple media to have the same roll number. But the telecine house doesn't like this because they would like a roll number for each medium you provide; you can not attach an extra digit to the date because the roll can not be larger than 6 digits. So I just had a tought. How about a 5 digit days-since-january-1st-2000.…
Last reply by Noah Timan, -
- 1 follower
- 55 replies
- 5.8k views
Hi everyone. For the first time I have a massive recording issue with the new BP-TRX Audio recorder. As always I synced the files with my video in Post, but the file from one transmitter/recorder shows a duration of zero seconds in tentacle sync studio, although it can be played back perfectly fine in VLC and timecode can be read from tentacle sync. In LTCconvert I cannot even import the file. File size on both recorders is about the same, so the file should be ok. What can I do to make it readable again and keep the embedded timecode??
Last reply by Sound, -
- 1 follower
- 54 replies
- 6.4k views
It seems some of you mix to mono while some mix to stereo depending on circumstances. In the event you're mixing to stereo, what are you putting on each channel? On ENG gigs it seems boom on one channel and the wireless mix to the other is common. But what about on features/reality shows/talk shows? What type of channel assignment practices are normal? Let's discuss.
Last reply by Brian, -
- 54 replies
- 4.8k views
I've been asked to do a live shoot that will be airing on facebook later this month. It's going to be a 3-4 camera shoot on DSLR's and most likely there will be no more then 4-5 people on camera at one time. This is what I'm being told for now anyways. I figured I'd ask you guys what you think is the best way, equipment wise, to do this. Any info is appreciated. Thanks
Last reply by John Blankenship, -
- 3 followers
- 53 replies
- 8.7k views
I would like some suggestions. I currently use a 552 mixer, synced to a 744T for timecode. Generally I do my mix tracks in the 552 and my ISOs on the 744T. This works great because the mix tracks are already separated for the editor and can be joined if needed in post by timecode. It also sucks because there is no way to label shots inside the mixer, so I have to re-name all the mixer files to match the recorder files afterward, while generating the audio report in Wave Agent. Any one else deal with this? What is your process?
Last reply by Bouke, -
- 2 followers
- 53 replies
- 33.3k views
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,
