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Workflow
discussions about workflow from production through post-production
736 topics in this forum
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I was at a "news event" with all the major networks, local affiliates, and even some tabloids present. I had to tune my bag around due to local tv antennas hitting half of my body mic and hop blocks. I was also getting intermod from our satellite truck's IFB - once I got their freq i was able to see the intermod in Freq Finder and dial to a clear freq. No prob with Freq Finder - and it gets better. I've also asked each crew for their blocks and l freqs and have found intermod hits galore - then tuned around to avoid them. In a few cases I helped other crews find optimal freqs when their systems were intermod'ng their own units. (I know, they should figure that …
Last reply by graham, -
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Hey Guys, Just a quick question, I have been reading about on set music playback in the forms, and I couldn't find how exactly to make a Timecode Audio Track in Pro Tools. What do you guys use to generate that audio? Third Party plug in? In Pro Tools method? Standard audio files that you use over and over? (I have PT9 on a iMac.) Thanks guys
Last reply by Philip Perkins, -
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Hi All must be talked about a million times but here is my question for all you guru's out there up comming shoot on a PDW 700 settings 1080i 59.94 i intend to record on my 744t (as backup and to create MP3 files for transcribing) and output via AES_EBU to camera (so 4 iso's on the camera as well) i also will put a lockit on the camera (connect TC only) (do this on red also) i also will be recording 24 bit 48000 my question should i setup my 744t as 29.97 ND any insights greatly appreciated martijn
Last reply by jacefivesound, -
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So it's a 35mm job, but differently posted: The lab (Fotokem) will be 1- pass tranferring the film to SR HD Cam tapes (23.976), which are then being thrown onto an Avid 48k/23.976 timeline, and THEN the sound will be imported into this timeline and synced. After some investigation, we're leaning toward recording the sound at 30 ND fps at 48.048, this way both the sound and picture will be similalry slowed down, and sync perfectly. Right? Thanks! Dan Izen
Last reply by chrisnewton, -
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I was wondering if anybody could share some tips on acoustic damping. And I mean mobile, compact damping for location shoots, that can be moved out of the shot easily. This is the best I've come up with so far.. A mic stand with two pieces of foam. But I would need quite a lot of these for it to be effective in large spaces.
Last reply by Marc Wielage, -
48.048 for the first time
by Guest Eric Lamontagne- 21 replies
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Yes, I'm new at this so I would like to ask the group... I'm just starting a small low budget 16mm doc on the FR2 and considering 29.97 48k with the pull up option enabled. I've been told this renders 30ndf at 48.048khz. On import into Final Cut, I'm hoping this works out to a slow down of speed to the NLE timeline. Film shot 24fps will be transfered MOS to 29.97ndf video, imported and then sunk up in FCsP (final cut semi-pro!). Film will then be cut manually from the EDL produced by Final Cut. This film cut will be delivered to a transfer house that is requesting 29.97ndf 48k audio to sync with it. This is where things are weird for me as 29.97ndf audio would have to …
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One topic that keeps coming up for me, is backup. Not during a shoot, but after the shoot is over. Is there a standard for this? I have a drive that I keep my files on for the duration of the shoot, and I feel it is necessary for me to hold onto them for a period of time afterward... but, how long is long enough? Wondering how you all handle this as a part of your workflow...
Last reply by studiomprd, -
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I would like to know how do you manage a Multitrack recording in your sound report sheets in order to have the best workflow between the sound location engineers and the postproduction crew. do you miss (people from postproduction) any information? does anybody have a model or a improvement? thanks
Last reply by GrahamTimmer, -
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I've gone over the relevant threads, which were very helpful (and must publicly aknowledge Marc Wielage for his time on email and over the phone, helping me figure out this issue,) but I couldn't find an answer to this particular issue. I have an upcoming shoot that includes playback of a track, which a few 9-year olds (background) will lip-synch to. I've built a striped-timecode playback track, with the appropriate countdown beeps, by summing both stereo tracks into the L channel and TC on the R channel. Regular speed is 23.98 and we're shooting with an Alexa. They also requested a 60fps version and a 120fps version. I did the math and used a Pro Tools plug-in th…
Last reply by Blas Kisic, -
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Just got a call from a producer I like working with. He appreciates and understands creative sound. Upcoming job: news magazine piece on an Olympic table-tennis player. Mostly regular stuff, but does anyone here have experience with, or informed thoughts about, recording competitive table tennis? This ain't backyard BBQ ping-pong. An example of how these people play: During practice, I guess I'll have some sort of freedom for placing mics and stuff. But we'll also be recording him during a tournament. I don't know what sort of limits will be placed on us. I also don't know, yet, if he'll be playing matches while others matches are occurring, or…
Last reply by Jim Feeley, -
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Hey gang, Quick version of this post: do you run mic or line level into a Red camera? The long version...had a rough day on set today - here goes my rant: Discovered after the day that audio sent to 2 Red cameras was distorted - not because it was clipping on the input of the cameras - it was "crunchy" in and of itself (peaks were in the -15 range, as far as I could tell from a quick glance of a final cut playback). I had sent tone to the cameras, got the thumbs up - listened on my end of the breakaways - seemed less than perfect, but only had a quick chance to check. (note, with my new rig, I do not have an easy way to listen to headphone returns - workin on th…
Last reply by greg sextro, -
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Back Up & Sound Dept. Liability Back up of data - Methods and Best Practices have been thoroughly discussed – and will continue to evolve. We all know we want to do a great job, provide perfect, organized data and get called back again. But what happens if perfection isn’t achieved? This thread is not about Practices, hardware and uploading. All well covered. This is about the liability of the Sound Department and ultimately the Sound Mixer. What is the legal “hand over” moment? The passing of responsibility? Has this ever been tested with any kind of law? Today’s basic workflow: Record on pro recorder that has at least 2 media. Mid day an…
Last reply by studiomprd, -
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http://www.telegraph.co.uk/culture/film/film-news/8945391/The-worlds-first-full-smartphone-movie.html
Last reply by jrd456, -
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For Starters Audio Bootcamp Field Guide by Ty Ford http://web.mac.com/tyreeford Location Audio Simplified by Dean Miles http://www.locationa...simplified.com/ The Location Sound Bible: How to Record Professional Dialog for Film and TV by Ric Viers published by Michael Wiese Productions [iSBN 1615931201] Location Sound & Post The Practical Art of Motion Picture Sound by David L. Yewdall published by Focal Press [iSBN 0240802888] Sound Man by Richard Patton published by Location Sound ltd [iSBN 9780986607707] "Roll Sound!" - A Practical Guide for Location Audio by John Fielden published by CreateSpace …
Last reply by VASI, -
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Hi all, I'm just interested to see what method most people use as track/take naming conventions. The reason being, on the last feature I worked on, the dop was adamant on using phonetics from "A-Z" rather than the conventional "slate" method. Bit annoying as when they got to Z, they started from A.1, B.2 etc. And pick-up scenes were another nightmare. I normally set my track names as "sce_1_T01,sce_1_T02......" and obviously change the scene number when we shoot a new scene. Any cheap way to use a keyboard with the 744T to speed up my writing. The CL-1 is way overpriced for what is it. What track naming method do you use?
Last reply by Philip Perkins, -
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Hi all.. I'm doing a green screen shoot on Monday and just thought I'd run it by the board to see if I have got the basic idea right. I plan to boom with an MKH 60 and assume the frame size will be pretty much never far above the presenter's head. Why waste picture resolution with lots of headroom as all they need is a clear band of green all around and then they size the presenter in post...? I think. So I can come in pretty close all the time with the mic from above. But if the mic wanders into the frame whilst keeping decently clear of the edge of the presenter's head is it no bother for post to remove the mic from the shot or is it a hassle for the e…
Last reply by WhyOne, -
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Hello everyone, First post here, but have lurked for quite some time. My name is Christopher Reig. I am an on-set post guy who does dailies (short and sweet). I have recently come across an interesting challenge for a workflow, and have found myself hitting a brick wall in my research, so on advice of a sound recordist colleague, am asking here. On most shows I work on, we usually use a mix track in a poly BWF for our dailies deliverables. However for this show, the sound recordist is unable to a mix track, so we will receive individual ISO tracks only. I discussed why I feel we require one, and they certainly did agree it makes sense, but they were adamant that t…
Last reply by cjreig, -
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Automatically Sync Dailies in Final Cut with Sync N Link Matt Armstrong March 3, 2009 Source: Studio Daily At the latest Alpha Dogs Editors' Lounge, post production guru Philip Hodgetts from The Assistant Editor and Intelligent Assistance demonstrated his new application for Final Cut Pro, Sync N Link, for synchronizing sound and picture shot dual-system. Sync N Link does what Avid's Auto-Sync function does, plus more. Footage and sound files with the same timecode can be automatically synched with a few clicks, either before or after the edit. http://www.studiodaily.com/main/training/richmedia/10569.html I have no personal experience with this
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Hi All, I had originally posted this to the 1st time w/Red thread under "Equipment", but it is more appropriate here under "Workflow". I will be doing an eight-day shoot with two Red cameras very soon. It is a dialogue-intensive comedy pilot. The editor and I have spoken, and the DIT and I have spoken, but knowledge is thin and I want to avoid problems. I am recording on Deva Fusion with a 774t as backup (available; not sure I'll use it). The editor plans to edit on Avid Media Composer and does not want to be stuck (or have an assistant be stuck) having to sync files by hand. He is concerned this will happen. The DIT says Red is optimized for FCP and he knows …
Last reply by Marc Wielage, -
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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, -
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Just wondering if anyone out there has any answers about Boom Recorder and the Avid. I'm running the latest version of Boom Recorder 7.25.3 The post production guys are telling me that no metadata is coming in. I know it's there. When viewing the files in 'Wave Agent' it all shows up. The important part for them is the Track names that I write on set not so much the notes. In Pre Production sync test I used my 744T and all the data was there. Now they are wanting more. I would just use the 744T but I need the track count that I get with Boom Recorder. Thoughts?? or experiences?? Stu
Last reply by Tyler Faison, -
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I'm really sorry to ask a very similar question that has been asked here before but having read all the relevant topics and posts I am non the wiser. I'm here in Cardiff, UK and working with an American company coming here to shoot on a few 7Ds for the US market. I will be using a 552 with a Lockit (ACL 202CT) providing TC input, jammed to an Ambient (ACD 301) slate. After repeatedly asking what frame rate they want me to record the audio at or telling me what the cameras are doing they haven't provided me with an answers (cheers guys I think to myself). So my question is: given the lack of info provided, what TC rate would you US guys default to? I understand that …
Last reply by Soundwil, -
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An excellent description of workflow from BWF to FinalCut Pro using BWF2XML software was recently posted on r.a.m.p.s. Here is the link: http://www.kenstone.net/fcp_homepage/basic_bwf_audio.html Regards, Jeff Wexler
Last reply by takev, -
- 19 replies
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Hey gang, Hoping some of you can offer me advice about an upcoming gig I have. I originally was contacted to record an event (send audio to one camera and make a back-up recording). One person speaking at a small (maybe 100 people) hall. I was planning on micing the talent myself, also probably placing a plant mic on the podium as well as taking a board feed. Turns out that there is no PA system built into the space. So now the producer wonders what to do. The original company that was contracted to provide the sound system for the event wants a lot of money (when I looked at their rental prices, they had a podium mic listed as a $200 rental!). I'm mull…
Last reply by John Blankenship, -
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Last reply by Arnold F.,
