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Workflow
discussions about workflow from production through post-production
737 topics in this forum
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- 4 replies
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How many mixers actually try to mix their content? Over and over I have been told to just put the lavs on one track and the boom on the other. I would love to hear from those in Post Production too.
Last reply by haifai, -
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- 16 replies
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I'm predominately a production sound mixer although I dabble doing post audio for little documentary shorts. One of my clients has been using a MixPre 10 II to record their audio due to the fact that they shoot a lot of pretty intense sports where people can be yelling at any given moment etc. They've been editing in Premiere using a 32bit timeline and it has worked out for them in that they've been able to use the 32bit files to recover info from those tough moments that normally would have been blown out. The problem we're having though is that when they go to send an OMF/AAF to me so I can load it up in Pro Tools, well the only export supported is 24 bit. They say …
Last reply by codyman, -
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Hi all, I'm just starting out in the filmmaking world, so please forgive my lack of knowledge. I have no-budget film I'd like to make, and I'll be doing everything myself. I can't seem to wrap my head around the audio side of basic 2-actor coverage. That is, filming the over the shoulder shots, and the medium shot. Could someone break this down for me as though they're explaining it to a child? If I have the camera set up for an over the shoulder shot, and I'm booming the actors, am I booming both actors as they each speak? Or just one actor, and then the other actor when I do the reverse shot? And then for the medium or other shots? And then how should I pie…
Last reply by HarryR2, -
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Hello, My ZaxConvert app stopped working. Running 10.13.6 (17G14042) High Sierra, Installed Lame 3.97 and Updated ZaxConvert v6.43 from 6.33. Recording on Nomad v8.01 When I extract the files It creates the folder but it does not extract the file. Any hints? Thanks
Last reply by Manel, -
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I'm interested in upgrading to a dante system and was wondering if anyone had any recommendations for certain dante workflows? How do you incorporate the system into your cart? Anyone using a remote setup running out to set? Pictures of setups maybe? Thanks so much!!! Steve
Last reply by S Harber, -
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- 3 replies
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For the ones that do / know about audio post: When I got back a mix from audio post (Few years ago, mixes came from ProTools), sound was always late by some 20 Msecs. Audio post told me this had to do with latency introduced due to processing. (I can remember from VERY long ago that a 'render' in PT was in fact a playback trough DSP's with simultaneous recording, can't imagine this is still the case...) But, fact is (well, was, question follows..) that sound was not proper in sync. (Don't bitch about 20 Msecs being no issue, that's not the point.) Question, is this still the case nowadays? Reason, I'm altering my LoudnessChange app. (It nowadays can do way m…
Last reply by Bouke, -
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Hello, Working with media from some PDRs, inside the folder is the WAV file but also a number of other files named PDRSPACE. For offloading the media are these PDRSPACE files needed in addition to WAV file or are they just place holders (they take up 30 gigs of space)?
Last reply by DanieldH, -
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Hey all, Was just curious how everyone's workflow has been for this. Pretty much all the shoots I've been on recently have had client/agency on zoom, FaceTime, Skype, whatever. How are you guys feeding an audio signal to them? Trying to see if there is a better way than just sending an ifb signal out to the mic input of the laptop or phone they are using.
Last reply by PMC, -
- 1 follower
- 3 replies
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Hi! I’m doing sound for a theatre performance and wanted to hear people’s thoughts on an RF plan for the event. I have a couple ideas but was curious to hear others out. Only 3 of the performers will be mic’d, moving all over the 46ft x 46ft space. Location is exterior in downtown Vancouver. Performance is 30 minutes and will be performed 3 times during the day, unfortunately there won’t be any rehearsals at this location. I run a RF Venue diversity fin, and part of me thinks that keeping it simple would be just raising the diversity fin high up to cover the entire performance area. But being that we’re in close proximity to our more congested RF envi…
Last reply by Dave Pullmer, -
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Excuse me if I seem to be reinventing the wheel but I'm really just trying to confirm (after some research) some ideas I have about using timecode in a two camera shoot. It's for a longish-term gig that a few friends and I have been talking about that may, or may not, actually occur. Call it a labor of love. We have: 1) A timecode enabled recorder (okay, okay, it's a Zoom F6 but it's affordable and I own it.) 2) Two timecode enabled cameras, one a Canon C300 and one a Sony FS7. My idea is to have one Denecke JB-1 that I would just leave on, to act as a master clock, since I think that all of the other stuff's timecode clocks either stop or…
Last reply by PMC, -
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A Sound Design Mix Pre 3II can record 32 bit float files. I use Logic Pro X for my sound editing and, as I understand things, it converts 32 bit float files to 24 bit while ingesting them. If that is the case, is there any point in recording the original audio file as 32 bit float? Thanks in advance for any information.
Last reply by Olle Sjostrom, -
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A lot of you have this info from other sources but I found it interesting. https://www.nbcnews.com/pop-culture/movies/hollywood-s-covid-pandemic-disruption-storyline-desperately-needs-rewrite-n1235823 Best Regards, Larry Fisher
Last reply by PMC, -
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Duplicated elsewhere. D.
Last reply by tourtelot, -
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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, -
- 4 followers
- 26 replies
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Hi, A low-budget doc I have been working on is going to try remote audio-only interviews. I've been tasked with suggesting some workflow solutions. I did check the site but didn't see anything; if I missed it I'd be glad to be pointed in the proper direction. I am currently thinking along two approaches. 1. Via the Internet - Basic guidelines provided to each interviewee to minimize "noise" in their environment. - Headphones that could be mailed to each interviewee, connected to their phone in order to hear the director's questions - A USB mic mailed to each interviewee that could be connected with some ease to their…
Last reply by Philip Perkins, -
- 1 follower
- 7 replies
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Hi folks, I'm new to the forum and hope I'm right here with my question: I'm a documentary filmmaker/director who is doing more and more his own sound. I've experiences with a 788T and a 633 and was using the sound report feature. But while shooting I always wanted to add a marker to the exact TC in that moment, so that I'm able to review this marker later – after a long shooting day with long takes – and add notes to all the markers. This notes would be very helpful for postproduction. I guess I'm not using the full potential of todays mixers/recorders. But maybe some of you guys are owning mixers/recorders and have experiences with more detailed metadata in a doc/…
Last reply by IronFilm, -
- 2 followers
- 8 replies
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I am working on my first film. I have 1 scene with 23 people speaking at one time.....I am new to this. My thought was lav everyone and chase with a boom which puts me at 24 total....I have a 664 so I know I have 12 channels there but what's the best way to handle this? Do I need a second recorder 664 or 688 or scorpio? Or, should I get a sound devices 970 and record them all to something like that?
Last reply by daniel, -
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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, -
- 1 follower
- 8 replies
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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
- 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
- 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
- 16 replies
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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,
