Workflow
discussions about workflow from production through post-production
736 topics in this forum
-
- 1 follower
- 52 replies
- 8.1k views
I hesitate to even bring this up, but this recent conversation on the RedUser Group was so sad and funny, I wanted to share it here: http://www.reduser.net/forum/showthread.php?109349-Why-is-sound-still-like-this The short version of the story (50 messages and climbing) is the guy asks: Coming out of a big production with two and three cameras for every scene I'm now drowning in the complexity of editing. Now I'm wondering why there still isn't a good option for working with sound. Why isn't cameras able to include good audio handling? Enable a large quantity of audio tracks and a high fidelity? The audio professionals on set are still recording to an exte…
Last reply by mikewest, -
- 2 followers
- 51 replies
- 7.5k views
How many people are using electronic sound reports and what programs are you using? Is this something that you have adopted on your own or has it been requested by production and do you do a paper backup? I am doing a studio show that will run until December so this will provide me with an opportunity to play around with different programs. I am thinking of using Movie Slate even though I wont get the full benefit due to the fact I'm using a Deva VS a SD product. I know there has been some previous discussion regarding this but is it just a toy to have on the cart and one more thing to hang off of it? So far production has not requested the use of shared meta data on se…
Last reply by Sound Intuition, -
- 1 follower
- 50 replies
- 6k views
Hey all, I've been wondering how you all record and/or mix the wide shot. Normally I had done it with a combo of COS 11s and Schoeps MK 41. However, recently I've gotten a Sanken CS3e and it has some interesting properties that sort of "change" the game, so to speak. The main property I speak of is its strange bit of reach. It seems to sound good enough that I would figure we would not even need lavaliers in post. It kind of eliminates the need for my COS-11s as the main microphones in many wider shots. However! If I A/B the two microphones I almost always use the Schoeps. It just makes the ambience of the room sound better. On the other hand, doesn't th…
Last reply by studiomprd, -
- 49 replies
- 9k views
Hey y'all. I'm new here, but I've been mixing/booming freelance for about six years now and I keep finding that there's no "one" way to mix a narrative feature, but I'd like to read how all of you go about your work day. I was let go from a shoot recently by a sound mixer I haven't worked with much in the past. I was his boom op and utility person. I was fired in a passive aggressive way, and I don't know his personal truth behind it all, but I'm perplexed as I've been moderately successful at this craft. Enough to keep making a living at it after six years anyway. My hunch is that I wasn't up to snuff with his ideas of a good boom operator. He'd get frustrated …
Last reply by Sebben, -
- 2 followers
- 49 replies
- 5.6k views
Going paperless! What do you use and why do you like it versus the other one? Thanks
Last reply by Boomboom, -
- 1 follower
- 49 replies
- 6.5k views
Hi Guys, It's looks like I'm gonna be doing a weight loss reality show. I have a SD 442, at most I will be running four wires. It's a one camera show for the most part, except for bigger days, they might bring out another camera. They are thinking about multi-tracking this year. I've suggested the 788 but I think I can get away with it on a 744. What are your thoughts? On the 744 can a make a stereo mix and do four ISO tracks? I would be using a denecke SB3 into the camera. Should I run it 24hr free run? I will also be tied to the camera giving it a stereo mix. Any advice you can give me or anything I might be missing would help. Thanks guys.
Last reply by Marc Wielage, -
- 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, -
- 2 followers
- 47 replies
- 9.3k views
I am filling in on a movie next week and when I asked the DIT (who was my only contact) he said they are shooting Alexa XT at a true 24 fps. This always raises a flag and I replied that in the past there have been people who have specified 24 fps but what they really meant was 23.976 (you know the drill). Well, evidently I ruffled his feathers a bit, his reply to me: "If you run across a DIT who says 24fps and means 23.976, then he should turn in his wave form." I think my mistake was implying that it has been a DIT in the past that has made this mistake (which is not the case). So, I guess I set everything at 24 fps --- I actually have never done this before.
Last reply by Jim Rillie, -
- 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
- 45 replies
- 7.3k views
Hey guys, Just wondering which among you do sound reports manually with pen and paper or do them electronically with a laptop, iOS device, etc. (or who doesn't do them at all? I.E. OMB? Reality Shows? etc.) Also wondering how often you put a reference tone file (-20dBFS) in the daily folder for post? Is this still needed usually? Thanks Guys!
Last reply by Constantin, -
- 1 follower
- 44 replies
- 10k views
I've recently saw a tv show where the host used two lavaliers. I'm assuming that reason for this is having a backup microphone, right? Anyone used to this procedure?
Last reply by mikewest, -
- 6 followers
- 43 replies
- 10k views
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, -
- 1 follower
- 42 replies
- 4.4k views
Hello everyone, I would like to know if in the case you're sending a mono mix to the camera you like to mix the sound of the boom and the lavalier (except in the case of phasing issues between both) or if you always choose one option to send, generally boom I assume?
Last reply by Max Futterman, -
Your Sound Team 1 2
by Den Nic- 2 followers
- 41 replies
- 6.1k views
Hey guys, just curious as to how different people operates their sound team on narrative Film/TV. This came out of a Sound Assistant call with the union I got on Degrassi which had the Sound Assistant lav micing actors all day (I don't know if it was any/all actors or just guests), which I thought was odd (Since lav micing is a lifetime of work to master, hence I would think that would be the mixers job). Just a short outline of your team positions and responsibility in very brief terms would be great Oh, and the type of gig you're listing it for (Or exact show if you feel like sharing). Thanks guys, much appreciated!
Last reply by Johnathan Sessoms, -
- 41 replies
- 4.6k views
Just started a feature and was using an SD 702T. On Day 1 the UK's premier post company was unable to read the DVD I put in despite the fact that I could read it on my external drive & the editor could read it on his gear. Re burned another disc with the same results. Day 2 the DVD ram rushes went through perfectly. Day three the lab was unable to read the disc but we could. Day 4 everything OK Day 5 same as 1 and 3. Threw the towel in and started to sending the rushes in on CF cards. No problems since. Anyone had similar or offer any explanation? Malcolm Davies A.m.p.s. (Production Sound Mixer.)
Last reply by Fernando, -
- 41 replies
- 4.5k views
Hi, I'm new here and new to audio. I'm primarily a writer/director, a student at a college, and have taken a couple of audio courses and read a bit on it. So even though I know very little, I know enough about audio (and care a lot about it creatively) to know that it's more expensive than picture and that a lot of attention has to be paid to it. My main problem is $$$, as even though I'm saving up for a low budget sound package, I can't realistically afford multiple 2000 dollar microphones with amazing setups. I wish- but no. So I come here from another forum with an honest question, I'm not ignorantly asking for a miracle, but some opinions on a solution to a problem- …
Last reply by studiomprd, -
- 41 replies
- 4.7k views
I am shooting a little event where they will be using a Canon 5D Mark II to roam around and record a bunch of dogs at a small show where they come up and talk about their dogs and why they should be in the show. There will be a microphone from the House, and they have a board they run it out of. I would think the easy thing would be to use an eight-inch to XLR and plug into the camera that way with manual control on so that the boar was mixing the audio. If i don't have access to the board, do I run it through my Nomad and then try and plug into the camera? Do I use my ERX to send a hop from the board (going into my mixer) and through ZaxNet send the H…
Last reply by MatthewFreedAudio, -
- 1 follower
- 40 replies
- 4.7k 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, -
- 39 replies
- 5.2k views
For those who have done a lot of Red shoots, what do you consider the best way to handle time code? I'm running a Deva II recorder with a Tascam HD-P2 as backup (or in case the client needs a CompactFlash card instead of a FAT16 DVD-RAM). I don't have tri-level sync or a lockit box, but the question is about handling time code when using only one camera. Comtek, G2, or Lectro INTO the Red camera sending time code from the Deva? Comtek, G2, or Lectro FROM the Red camera sending time code into the Deva? Jamming INTO the Red? Jamming FROM the Red? A side note: I find that the Tascam won't jam properly to the Deva if both the Deva and the Tascam are set to 23.…
Last reply by Philip Perkins, -
- 39 replies
- 3.4k views
I have been on a show for several years and am finally able to change things a little. (What follows is no April Fool's joke, okay??) I have been using a Deva II and a DAT machine. There. I said it. It is what the telecine people wanted and it has kept me employed for 5 years. But I'm moving on. I'm going to be using a 744T, (since they still want only ONE track the 788T seemed to be overkill for this show.) But I'm retiring the DAT. Done, thanks, and farewell. This will really make all of the 2nd unit mixers happy since they have had to scramble to find one that works. But the telecine dept. still wants some kind of backup for dailies transfer. I thi…
Last reply by studiomprd, -
- 3 followers
- 38 replies
- 5.9k views
I am looking for suggestions on lav placement on a chef wearing an apron and a T-shirt. The shoot is for a series of website demos and recipes for an upcoming "Masterchef" show. I did this last year and the problem I am trying to obviate is the 'on-mic/off-mic' effect of the chef looking at what he is doing and then glancing at the camera for the occasional phrase. We will be shooting with two cameras - wide and tight. Conventionally on cooking demos the cut-aways are shot seperately and the chef knows to address the camera more often than the dish he is preparing. Our chef is not a professional presenter; but rather a successful restaurateur. He does not wear a chef…
Last reply by Constantin, -
- 2 followers
- 38 replies
- 4.5k views
Can anyone recommend a book or article to help explain best or standard procedures on how to connect and maintain time code sync between camera and audio recorder? Most of what I've read concerns frame rates, free run vs rec- run, etc. Beyond specs, I'm looking to find out info such as; is it best to have a time code cable between generator (in my case the SD 664) and camera connected at all times if possible (such as cameras on sticks for a sit down interview) If frame rates and TC are synced, why is a timecode slate used? How would a Lockit box help? As I said, searching the web has not given me the hands on type of info I'm looking for. Generally I would work on …
Last reply by mikewest, -
- 3 followers
- 37 replies
- 5.9k views
I see a lot of people carry about the amount of mic preamps on XYZ mixer / recorder. Personally I use at least two mic preamps and the others are wireless (so the mic preamp is the transmitter). I see and read a huge amount of sound mixers to worry about "how many mic preamps have this". Curious to see the results. You must not be confused with "how many tracks".
Last reply by Jaymz, -
Sound Tents... 1 2
by iMix- 2 followers
- 37 replies
- 4.7k views
Not sure where to post this in the forum, but does anyone use a great pop up enclosed sound tent? I'm about to buy the Village Blackout tent, like most the DIT's use...its super easy to setup/takedown with one person, is fully enclosed, and protects the gear from harsh elements. They are built do blackout (not really needed for me), but are also very tough and resilient. Just curious if there are other options out there to consider before dropping $1500 for a tent...
Last reply by Malcolm Davies Amps CAS, -
- 2 followers
- 36 replies
- 5.9k views
Hi everyone. We are shooting a reality (cooking with challenges) TV show next week. I'm gathering all needed information, techniques, advices in order to make everything smooth. I'm assembling 9 soundmen. We are using PSC Promix6 and Azden FMX42 for the mixers, Sennheiser SK 3063 and EK 3241, G2's and G3's for the lavs and Sennheiser MKH 70, MKH 60 and ME66/K6 for the boom mics. We are shooting in the Philippines. It's a cooking/reality/challenge show. Challenges will include river rafting, ATV rides among others. There might be lot of running, following the contestants. We are wired directly to a Canon C300 camera. The producer doesn't want a separate recorder since it w…
Last reply by maniemjr,