Workflow
discussions about workflow from production through post-production
736 topics in this forum
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Hey everybody, long time lurker taking the plunge. I'm on a project and just found out that tomorrow there will be a segment shot on an iPhone. I'm still waiting on details from production, but I wanted to ask how others have handled working with the iPhone. I'm assuming sending audio to camera isn't realistic, so I'm thinking double system with a TC slate. I see to get conflicting information online regarding frame rate. Does it shoot 29.976 frames or true 30. As far as I know they are planning on shooting in the iPhone camera app and not an app like filmic.
Last reply by Trey LaCroix, -
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Hey Guys, I'm a UK based sound recordist and I've got a TV pilot to shoot.I have a Sound Devices 744T and 442 mixer. I need to use 6 radio packs and a boom for this job and would welcome any work-arounds or maybe you've done the same thing.There's no budget to hire in any more gear so I'm thinking I'll have to "double up" on some channels.Waddayathink???
Last reply by pkautzsch, -
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Assuming that you are able to coordinate with the wardrobe dept before major costume and outfits are created/selected, what is your standard operating procedure? What do you ask for, build in to costumes, etc? I ask because I was approached to do sound for an indie period piece / western feature, and I'd like to coordinate with wardrobe before they start making outfits exclusively out of starched silk, fresh leather and chainmail. The only other time I've been able to coordinate with wardrobe in past projects I was only able to say, COTTON COTTON COTTON.
Last reply by syncsound, -
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When filming live music or theatre shows, I often have to provide the stereo mix track files (two tracks from the larger multi-track set of Mono time-stamped Broadcast WAVs created on Sound Devices 970s) to Music Supervisors or similar people for them to make edit notes from. This is similar to what many of you do for Transcribing - except I find they prefer the full BWAVs instead of timestamped MP3s as is usual for transcribers. More tech-savvy music types will spot all the takes onto the timeline of Logic or Pro Tools if they have the time, but for others, I set them up with the fantastic InqScribe transcribing player to do their notes. Often they get annoyed by having …
Last reply by nickreich, -
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Posted on Facebook, Derek Hanson found what seems to be a really good software company that provides some tools that could be very useful for us. Derek's description from Facebook post: "Need to convert BWFs to MP3s for transcription? There's a new app for Mac or PC available from VideoToolShed that converts BWFs into MP3s with TC stamp. It was a custom job for me but now it's available to the public on their website for $25. Works great, converts the files fast, makes nice and small mono MP3 files. For me, I didn't want to give up card redundancy on the 688, at the time there was no software on Mac that could really do this. PS.. I don't work for them." V…
Last reply by Philip Perkins, -
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https://www.videotoolshed.com/product/make-transcriber-files/ - $25 Mac or PC I do not work for VideoToolShed but Bouke, the developer, programmed this utility for me and I told him it could be useful to other sound mixers and they should put it up for sale to the public. Apparently it is now available! It's a fast and simple utility and has some nice features for us. You select the source folder for your BWFs (can manually or automatically detect frame rate), an output folder where you want the MP3s to go, check the boxes for which track or tracks you want included in the mono mix and hit create. It makes the mono mix for you so even if you …
Last reply by Philip Perkins, -
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What's the average percentage for your lavs that you don't get clothes rustle/noise, drop outs or hits, etc on your lavs? I'd say about 40-50% of the time I lav someone it's clean without any really bad rustle. Sometimes I have no issues at all when I get the placement just right with cotton shirts, other times I'd assume it's completely useless. I do narrative work where I have to hid the mics almost 90% if I can't hide it in plain sight.
Last reply by mikewest, -
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Just finished a shoot in Kew Gardens - call sheet stated to work around flight noise issues. The loc is directly underneath the Heathrow flight path. Luckily, we were only recording links 30sec-1min in length so stuck a radio on and tried to go between the worst of the flight noise (the ones which caused particular issues were the planes where you could see faces in the windows!). Has anyone filmed at this location, and if so, what was your workflow for shooting anything longer than a minute or so? Try and shoot in 'chunks' in between the worst of flight noise (very difficult in an interview situation I guess), let it go and rely on post smoothing cuts with more fli…
Last reply by Reg, -
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Hi, I am a location sound guy for film. I am very interested in VR audio/recording/post-production and have been researching about it for a while now. I wanted to know what the best place to start. Any recommendation for where i can find more information about VR audio?? It is hard to find a good information source(like website dedicated to it or smt) for total noobs like me. Thank you
Last reply by Ze Frias, -
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Hello Brain Trust, I am starting a project next week which will be shot on 35mm film. Production has left it to me and the film lab handling the telecine to figure out the workflow as they have not hired an editor or post production supervisor yet despite my urging to do so. Also due to shooting starting Tuesday we will not be having a sync test or workflow test despite the lab and myself wanting one below is what the lab is suggesting let me know your thoughts. You will be shooting film at 24FPS, your options for dailies would be 23.976 or 24 FPS depending on the framerate you are planing for editorial. If you decide on 23.976, your Audio will need to record…
Last reply by ProSound, -
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Hi guys, Working playback for music video. Production is very slow with details but have told me they will be doing a slow motion shot. I've read through the forums and found this: Wanted to make sure I prep the files correctly: -singer is from Colombia (probably shooting 23.978) -I have 10 min of LTC and the music track panned L and R respectively -will make a new music track that is shortened by 50% (assuming they will shoot at 48fps) -will also make a new LTC track that is shortened by 50% It was mentioned that I should keep the pitch correct for both files, but unsure how or why to do this. Any help would be super appreciated.
Last reply by IronFilm, -
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I realize that most of our problems are the opposite, but I would love to hear some thoughts and comments on the mic being too close to the subject. I generally operate on the basic principle of 'camera perspective' informing my decision. But Robert had an intriguing comment (thank you RPSharman) in another thread, stating: "with some of the mics we use today, the frame line might be too close". On an episodic I did recently, there were several ECUs (faces only), where I had the MKH50 at the frame line for some intimate lines. I was half crazed from cicadas, and was glad to get the damn thing in there like that. I thought the signal was amazing. I could practica…
Last reply by Ken Wilkinson, -
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Got an interesting gig doing some car work tomorrow, mixing from follow van following/leading picture car. LPDA's Shark Fins pointing at picture car feeding a PSC six pack. One of the receivers is a SRB & other SRC so it will be cool to see any performance differences. I have redundant whip receivers and recorder hiding in picture car TC locked for safety also feeding a pix240 a 2 mix for client playback. Fortunately it's only two talents, so I should be safe delivering a LR mix in the unattended picture car recorder. Just need to decide whether I like my cubs or wires for that. With seat belts on my hunch is cub's all day. Fortunately they gave me a audio utility for…
Last reply by Michael Wynne, -
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Hi there, For a shooting tomorrow, I will be using my M/S rig (Sennheiser MHH30+MKH8040) to record stereo using my Sound Devices 744T, after the shoot I will have to decode all the files in Pro Tools to a normal stereo files and send them to the video editor. Is it possible in Pro Tools (Vanila 11.3) to decode those files to normal stereo while maintaining the original timecode? Hope it all makes sense, any help will be appreciated! Itse
Last reply by Constantin, -
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- 11 replies
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Curious, who here is collapsing tracks, and who isn't, and why? I'm still on the fence about leaving a second boom track empty on a master, say, when I know I will likely arm it in the coverage. What's the consensus here? What annoys editors the most?
Last reply by macruth, -
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Is anyone on Oz publishing? It supposed to be a directory for crew etc. If so, can you guys tell me your thoughts and how you feel about it. Thanks. Ozonline.tv is the site Sent from my SAMSUNG-SM-N900A using Tapatalk
Last reply by ndg2k005, -
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Hi All, Post Production Audio Question: I have come across some post audio workflows and the topics of submix, buses and loudness normalization. It's a side of post audio I have not seen and it does provide cleaner and fuller audio, but I do have some questions about this workflow: To do the EQ, noise reduction, desses, etc.. for each audio clip is better to do a submix bus for each audio clip and do the EQ and other stuff OR do a submix bus for that one track and do the EQ and other stuff? and after the submix bus then do the loudness normalization? Any answers and suggestions are welcome. Thank you.
Last reply by Jay Rose, -
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Hi, I've searched the site but did not find anything specific about recording walla; any advice or suggestions appreciated. I am prepping to record walla for a number of scenes; some with just 2 BG actors, the largest with 6-8. I did production sound for the film and had a sennhesier 416 or Octava MK-102 on the boom, and tram 50s on the actors. We will be doing the walla in the same locations I am wondering about a booming technique; how closeup, setting a volume level. My plan would otherwise be to set a level as if I am micing them for dialogue, then pull the boom back to get a greater percentage of indirect sound. I was also thinking of plantin…
Last reply by Mirror, -
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Hey guys! Just want to know the general ball park range on what an op should charge for comercials and such. Hourly/daily etc. Just want to make sure I'm on the same page. Lol Sent from my SAMSUNG-SM-N900A using Tapatalk
Last reply by ndg2k005, -
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- 11 replies
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Looking to set up a new PL system on my new show. Prepared to wear a wire, but want to have the ability to mute on the boom op side. Tried out the Lectro REF Mute switch, but didn't seem to work for me. Thinking of G3's, but every channel I tried seemed to interfere with our Lectro IFB feed. Anyone have a setup of their own that they would recommend?
Last reply by Jim Gilchrist, -
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- 11 replies
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Hi all, I'm working on a short film (very low budget) next month and have been to scout out the locations the other day, I found out that both exterior locations are going to cause me problems as ones next to a noisy road and the other is next to a scrap yard (lorry's and wagons moving about quite regularly) I am an amateur sound recordist so I dont really have much access to different microphones, my kit for this is going to be; Rode NTG 2, Rode NT4, 2 Sony radio mics, Tascam DR 60D, boom pole and blimp Just wondering what the best sound quality I could achieve is (radio mic or shotgun) Thanks in advance and let me know if you need anymo…
Last reply by Marc Wielage, -
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For those of you using the BST75 from your Comteks, how many of you are using "1/4 " TRS input Versus XLR " Reason I ask with proper gain staging sending line level to the unit it always sounds a tad blown out. Is this as simple as an impedance mismatch ? I have a XLR to 1/4 inch impedance changer ( low to high ) on the way to me now to see if it makes a difference. It's subtle but driving me crazy.
Last reply by Michael Wynne, -
- 8 followers
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Those using DPA Slims, what are your go-to mounting methods? Both with and without using a DPA concealer?
Last reply by Mack, -
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I am about to work on a tv program where there is sometimes more than two interveners with dialogue (like an organised group of people). Although I have a SD 442, we are recording straight to the camera, a Sony FS7, so only 2 audio inputs. Coming from film production, my approach would be, in general, to wire the two interveners and boom, but being the first time on a TV program, I am unsure what are the usual approaches. Is it common to mix for example 2 lavs into one channel and the boom on the other? Or simply give priority to booming (which sounds more logic to me)? Thanks in advance!
Last reply by Melissa, -
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- 6 replies
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We have luckily been able to keep 24 bit 48 kHz recording a standard, which has prolonged the lifespan of our equipment, and not rendered it obsolete like the "resolution wars" that the camera companies are having. But I am curious how long that will last. A friend of mine and I, both hifi enthusiasts, found common ground with vinyl records. Then, an off handed comment on my part brought us to quarter inch tape being our medium of choice. Now we are venturing into DSD, because frankly, we don't want to wear out our tapes, lol. This got me thinking: what if DSD recording became the norm for us? A recent chat with our resident Tascam representative yielded the fact th…
Last reply by Constantin,