Workflow
discussions about workflow from production through post-production
737 topics in this forum
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Hi guys I've been always struggling with my cheap H1 recorder's noise floor when recording nature and low spl sources, lately I worked on a method that gave me pretty good results, and wanted to share it with you and see if someone already tried it, if not I'll be glad to get your feedback. -Search for the quietest bedroom you can find, with a large closet with a lot of cloths. -Start the Rec on your H1 at 75 gain and put the recorder between layers of cloths, (Record 30 seconds, beware of cloth rustle) -Import the audio files to your DAW. -Use RX Spectral Denoiser to learn from the noise sample. -Select the clips and apply the noise reducti…
Last reply by TVPostSound, -
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- 6 replies
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Let's say the protagonist is in the toilet hearing his parents fight in the living room, and we're shooting in an actual apartment. When recording these wildtracks of the fighting on set, apart from the close miking(lavs on parents and booming), would you also set up a mic or even mics in the toilet for the reflection?
Last reply by Philip Perkins, -
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- 32 replies
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Hi, I am syncing video to audio via timecode using two ultrasync ones on a zoom f6 and a sony a7 III. Zoom f6 is set to output timecode to the USO and this transmits TC to the USO on the a7 III. Then I sync using tentacle sync and export as media files. Usually this works perfekt and I have done so for lots of shooting days and hours, but this time there is one clip in the middle of the shooting day with audio shifted from video about a minute or so.. In tentacle it shows as audio-TC found. All other files before and after this clip are in sync. Did anyone experience the same problem? I havent started or stopped audio recording…
Last reply by Vincent R., -
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- 1 follower
- 2 replies
- 528 views
Hi Everyone, I have what I hope is a simple technical question I was hoping to get assistance with. If I have a recorder in particular a Cantar mini running at 48.048khz sampling rate ( pull up work flow request ) and I have a mic pre amp with an AES output connected that does not have the pull up setting @ only 48khz ( i.e. Sonosax M2D2 ) are there any drawbacks to the AES signal. I'm hoping & assuming the M2D2 is receiving clock from the X3 by default via the AES signal, therefore the clock is resolved to 48.048khz and is therefore a non issue, or perhaps I'm missing something.
Last reply by Constantin, -
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- 571 views
A client sent me a 45 minute interview that was opening up as 0:00 in Windows Media Player, Audacity and VLC, I popped it into Audition and it said "Metadata was found in the file but is corrupted and could not be read" so I grabbed wavfix dragged my wav onto the exe, it said: > Processing '****' | [w] Wrong RIFF size: 0000000000 B + 8 [file size: 0355004130 B;] | Current file structure : | ====================== | <fmt > chunk [offset: 0000000012; size: 0000000018 + 4 + 4;] | <data> chunk [offset: 0000000038; size: 0000000018 + 4 + 4;] | [NULL] chunk [offset: 0000000064; size: 0355004066 + 0 + 0;] | | [i] Checking <data&…
Last reply by Allen Rowand, -
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- 2 replies
- 467 views
Something went wrong.. timecode hasnt been recorded on camera, so I have to sync the Zoom f6 manually to the video files. Fortunately PluralEyes 3.5 is doing well syncing up the file BUT it imports my six channel audio as surround sound and export as surround as well. Which means, channels 3 and 4 are silent and instead there is part of it in the bass track number six. I tried to export as FCPx XML as well but it doesnt work at all. I get the video files in the xml but no audio at all, video is silent and there is no audio track. Does anyone know what to do? Is there a way to change the audio configuration from surround to 6 mono in plural eyes be…
Last reply by Sound, -
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- 2 replies
- 497 views
Pertaining to corporate and doc work(haven't done film in a while): AS most of my clients don't know what cedar is, nor do they have post that are aware of the new software, I'm trying to figure out a standard of how to use the new technology. Currently I've set up a bus with processing called "processed audio", or I've added the plugin to the master buss two both channels. Any thoughts on what a "standard" could be? I understand if post made this request, but at the moment I've not yet had one. Is there any reason other than client knowledge why we should be still recording a stereo master track? Say a two person on cam interview, With the 8 series we can make two …
Last reply by codyman, -
I would like to record audio on the zoom f6 using 32 bit audio, but we have to edit in avid later, which doesnt support 32bit natively. Avid Media Composer can link to 32bit files but when you consolidate or transcode you need to transcode to 24 bit. I was hoping I could dual record 24 and 32 bit in the zoom f6 and have 32bit as a backup which is possible BUT then there is no limiter available for 24 bit. So I was thinking: is it possible to record in 32 bit and find a reliable way to transcode the files to 24 bit later on? We are syncing audio and video via timecode using tentacle sync studio.
Last reply by Bouke, -
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Has anyone ever used LTC on a sound channel on an Arri shoot? Reason, for a custom project I've made something to destructively change the TC on .arx / .ari files. (And the wave files that come with it.) I'm currently building that into QT change (as well as BWF support), and I could also build it into LTC convert, but if no one will ever use it...
Last reply by nickreich, -
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- 4 replies
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Hi everyone, I’m wondering what you all do when camera switches from a standard frame rate (for me, usually 23.98 or 24) to a high framerate shot. I encountered this the other day, where we were shooting 23.98 on an FX9 most of the day, but grabbed some B-roll (with dialogue) in 120fps on a Sony a7s. I offered to switch timecode to 30fps across my tentacles, one of which was running audio tc into the a7s, the other was feeding my mixpre10. I figured this may be useful since 120 is divisible by 30. But the director said no, keep it at 23.98, as switching tc would create interpolation issues in post. Obviously we still slated…
Last reply by Ian Berman, -
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Hi everybody I've been wondering if there's someone out there who could give some advice on field-recordings specifically for cinema. I've learned and experienced myself that correlated stereo/surround setups tend to fall apart in a mix since 90 % of the audience are not sitting in the "sweet spot". But still I find a lot of field-recordings are done with an MS/DMS setup. I can totally see why considering how compact and fast it is. Maybe the only chance to do on-set ambience at all. But maybe there are some opinions also from a post-perspective on which setup works best for this kind of situations. For the next project I get the chance to come back to t…
Last reply by Sebi, -
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- 55 replies
- 5.9k 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, -
- 2 followers
- 12 replies
- 1.3k views
Recently somebody commented it and it made me think. Since I'm usually the only sound guy on set I never see others boom, except for the few times I had an operator - and those didn't do that. So what I often do is put the boom on my head and hold the rear side with one hand and use my head as a lever, so I have my front hand free. Doesn't cause coises from my clicking elbow or moving my hands, which is nice. So. Am I the only one? Because then it might be something cultural, having grown up in Guatemala where people carry stuff on their head lol
Last reply by Fred Salles, -
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Hi all, has anybody successfully Genlocked the Arri mini LF or the Alexa LF from the external timecode source (via Sensor - Genlock - TC In) using something other than Ambient or tentacle sync timecode generators? I’m trying to use my Betso TCX 2+ but I am getting Genlock errors flash up on the camera multiple times during the day and occasionally the 1st AC loses picture. I have swapped to an Ambient system & all appears fine. Thanks Steven
Last reply by Max Chernyaev, -
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- 3 replies
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Hello! First time posting here... I've been a dialogue editor for a good few years now :) I've been working on some software to automate little workflows I've macro'd over the years. The most useful of which is track phase alignment or fix syncing. So here it is... TrackAligner: http://trackaligner.com/ I'll be making some videos later this week, but just thought I'd post it here in case there's any interest! James
Last reply by The Immoral Mr Teas, -
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- 6 replies
- 1k views
We are going to shoot a party scene with dialogue. Party scenes with no music always look akward, because everybody is moving to their own rhythm. I have heard of playing back music with a low hicut, so they can get rid of the bass rhythm in the post. Did someone has experience with this kind of method? Where would you set the hicut? I would think about 50hz, far away from the voices frequencies. But I there anything to be aware of?
Last reply by Ben B, -
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- 31 replies
- 3.6k views
It's been a while for a thread on Genlock. Actual camera sync (not just timecode identification on frame1 in the XMP metadata of a file) Sure 1. live video switching needs Genlock, 2. 3D camera rigs -- cameras need Genlocked for in phase shutter and timecode sync. 3. shooting concerts, all-day corporate conferences, or long form documentaries with takes being 1-2 hours before media change means multicameras need to stay in sync and not drift. Other than the old RED camera issues and ANYTHING older than 2011.... When you've done a shoot with 2 or more cameras with very long takes. Were there any very productive conver…
Last reply by tourtelot, -
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- 6 replies
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Today, a client has asked me to do some research for a practical solution to sync one or more iPhone 12 Pros to a timecode enabled audio recorder for an upcoming double system shoot. In my particular case, that would be either my SD633 or MixPre 3II. Maximum of three inputs...two wireless lavs and a boom. I own four of the original Tentacles and have looked at the Ultrasync Blue app/hardware. I'm also looking at both the Mavis and Filmic Pro iPhone apps. If someone has sorted out a workable existing solution, I'd appreciate any feedback and experiences. Thanks! Dave Wendlinger San Francisco, CA
Last reply by nimra, -
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- 12 replies
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Does anyone know a fast way to batch extract a mono channel from a stereo wav file on macos while keeping the timecode? I just want to extract the left channel to a separate wav file with timecode. I tried ffworks and apple compressor. Both exported files have lost their timecode. The reason for this: I just tried the new Deity BP-Trx recorder. Unfortunately it records in stereo, even when you set the input to mono. When I sync in Tentacle sync studio after that, there are a lot of redundant audio tracks and i can even run out of track when converting to broadcast standard xdcamhd (which has only eight tracks in total).
Last reply by Constantin, -
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We are working with a RED Monstro and a BlackMagic PCC, timecode is being jammed to both,. This is not to sync audio but to sync the two cameras together. Both have project/base frame rate of 23.976, and our shooting rate is 29.976, to give a slight gliding/slow mo feel. When sycning both via timecode in Resolve, the cams have been off everyday so far, sometimes by 6 frames, sometimes 2 seconds and it drifts throughout the day. I was wondering if we're doing there's anyway to get TC spot on for both or if it's impossible because of the off speed shooting rate, and therefore it will always be off regardless that both cams have the exact same setting…
Last reply by Bouke, -
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Hi everyone, sometimes I am working with five analog audio transmitters at the same time. Its important to use a frequency band or channel group with only few interference (for example 21, 22 or 23) Until now I could use the app freqscan, to find the best channel group to use for all my lav mics in any given location https://www.irt.de/de/themengebiete/funksysteme/drahtlose-produktionstechnik But now, this app isnt available anymore. Is there any other app to find the best channel group for any place?? Regards
Last reply by Sound, -
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- 2 replies
- 878 views
Last reply by karlw, -
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- 16 replies
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Was just wondering if anyone was running Lectrosonics Wireless Designer on a tablet, and if you are connecting via ethernet adapter or USB hub adapter to your receivers? I was hoping in a perfect world to connect to three DSQD's through a tablet connected to an ethernet adapter to an ethernet switch (to interface with the DSQD's). It's not ideal having a laptop connected to the cart all the time, but I really like having the ability to have Wireless designer going all the time. Has anyone had success getting wireless designer installed on something smaller (Android tablet or Chromebook, something like that?) Thanks.
Last reply by Simon B, -
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- 615 views
Hi y'all I'm planning some rather complicated vehicle SFX recording sessions and realized I'm going to need to use free running timecode on 4+ units. One of the issues I'm running into is I've never jammed an F8 via BNC to an MP6ii using HDMI mini. I'm not really sure what the workflow here is since I don't think you can get cabling that works this way. I'm not familiar enough with the timecode features, but I think you can have the MP6 follow an exteral timecode box via the TRS line in port of the recorder, but is it possible to jam the device that way? I don't want to go down the path of buying a lot of extra cables that I'm not sure will work or not, so any …
Last reply by kaipaquin, -
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Hi all, Since some (well, a lot) of you are responsible for Timecode: QT change has had a major update. It is no longer dependent on QuickTime being installed, and 64 bits (big sur / Catalina compatible.) And it now works also on Mp4 and BRAW files. Beside that, I've recently added an option to offload cards and set TC based on system time, but with a non-drop option. This was done per feature request from Top Gear USA. The logic behind it: They shoot 23,976, but have a couple of drones with no TC nor sound input. Thus the sound guy jams all cams, and the drones get their clocks set to the TC displayed at a given time. Example: Cams are jammed at…
Last reply by Bouke,
