Workflow
discussions about workflow from production through post-production
736 topics in this forum
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I got a call today for a job on Thursday which the producer thinks might be a 5D shoot. Unfortunately, he doesn't have all the info yet. I've asked for a contact number for the editor handling post which I may, or may not, get tomorrow (Wednesday). If this is a 5D shoot, I'll run double-system, of course, and use a time code slate if possible. What is the latest for this camera? Did they ever implement 23.98 or 24fps as was rumored? Is it still strictly a true 30fps? For sending reference audio, is the mini-jack input at mic level only? How is the input level adjusted on the camera? I figure a Sennheiser G2 with a hot shoe mount would probably be a good …
Last reply by Todd Weaver, -
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Hi jwsound menbers. i have a gig starting monday. so now testing time. can you please sent me a howto in using the al-601 on the sik2? i called the sound recordist who worked with this setup last week and found out they ended up using a clapper board last week monday i start my gig and i did't have time to check and test the setup the si k2 must be in free run right? (where do you set this) and after cam changes battery do i need to lock again? does the sik2 must be turned of before connecting the al-601? thanks so much for any tips and save the editors some time cheers martijn
Last reply by martijn scholte, -
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I've been trying to find a definitive answer to the question of whether or not the latest version of Final Cut Pro 5.1.2 can accept polyrhythmic Broadcast Wave files. I'm aware that there are some workarounds that have been created to address this problem but some of them cost money (not unreasonably) and all of them require an extra step. So what I'm basically asking is, given the latest version of Final Cut Pro, should I record files as .WAV mono / poly or .BWF mono / poly? Thanks for the help. Tim Elder
Last reply by RobertKennedy, -
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Last reply by mono, -
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- 7 replies
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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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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, -
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I recently received a message regarding this seminar in New York sponsored by Gotham Sound and Sennheiser: http://www.imakenews.com/gothamsound/e_article001889953.cfm?x=bhvvrqf,bl1pnc1n This is a topic which interests me because I have a background in music and studio production and when I tracked an artist or band I was the person who mixed the recording, too. Nowadays when I am doing location work I am either mixing split tracks on boom and wireless lav jobs or handing over my work as an ISO multi-track. I have no control as to how my source files are being mixed in post. I am not sure the video editors understand what to do with multi-tracks or how to mix soun…
Last reply by studiomprd, -
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Assuming no double-sound in this question, just multiple video cameras each recording sound... I've been doing ENG/EFP sound for 23 years and haven't "genlocked" a multi-camera shoot in over a decade. I recently picked up the Wolf Seeberg "24P For Sound And Video Assist", which was published in 2005, and am reading about all sorts of "green flashes" and missing frames in video if one doesn't "tri-level sync" all 24P cameras on a multi- camera shoot with either a Ambient or Denecke sync box. Can anyone tell me if I should REALLY be using such devices and practices on all multi-camera ENG/EFP shoots, and if so, why? What career-ending things will occur? I haven't rec…
Last reply by Marc Wielage, -
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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, -
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Hi All, I do mainly live performance shoots with multiple cameras all Receiving Timecode and Genlock from Lockits, and a Lockit feeding TC and Word Clock to ProTools (or a SD recorder with it's internal TC). I have a shoot coming up where we are splitting MADI Audio from the House System, thus our truck and ProTools will sync from house clock (sourced from an Apogee master clock). As we have 6 REDs shooting 90 minute continuous takes, I'm thinking we should try and tune the Lockits to the house master clock so the audio session timecode doesn't drift over long takes. While I'm familiar with the Lockits, I'm not with the Clockit master controller. Does anyone have any…
Last reply by Philip Perkins, -
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I am using the term "workflow" here in reference to the ways in which we need to have our "work" "flow" during typical shooting day, rather than it's normal reference to how our tracks flow through the production-post chain. Many people are using 2 recorders on a job; in the cases I am most familiar with this would be a Deva and a Sound Devices 744T or 788T. We know that all the common recorders can make a deliverable disk, typically a DVD-RAM disk with Broadcast Wave files on it, and when using these 2 recorders it is not such a big deal to burn a disk using each machine and turn in 2 disks. My question is, when using the SD recorder, for example, to record some po…
Last reply by Jeff Wexler, -
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I started this in another thread and figured it deserves it's own topic. On a film job I am use to recording in 24/48. But for video jobs in which the cameras are recording 16 bit, mainly the HVX200, I've been running 16/48. I've been told that when they start their session, in Avid, or FCP they create a 16/48 session, because the camera has that in the files. My thought, and maybe I'm wrong, was to keep the audio the same as the session ultimately created (16/48) so that there is no conversion of my audio if they need to use the 744t audio. Down converting from 24b is better than upconverting to 24b, and since it is not the sample rate being converted, I guess there woul…
Last reply by taylormadeaudio, -
Hello group, I am not the brightest when it comes to timecode.. I recently got a question if it would be a problem recording sync-sound on a separate recorder which records in 25 fps when the camera (Arri Alexa) is rolling at 18 fps (mimicing a super 8 film camera) .. How would the picture stay in sync with sound? Timecodenoob..
Last reply by studiomprd, -
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I just started working on an indie feature working with 2 REDs. The editor is on site and is syncing audio and providing dailies so I get a first hand look at how everything is working out. I'm using the PD-6 to jam a TS-C slate and 2 SB-3 boxes attaching them to the Reds. The PD-6, Slate and Sync Boxes are set to 23.976. When the editor receive my files and the transcoded RED files, it takes less than 2 minutes to sync the whole days audio. There is a 1 frame offset between the audio and video. You simply set the offset in Sync N Link and that is taken care of. Sync N Link is awesome IMO. A few observations: Even if I set the clock on the PD-6 to "Free,…
Last reply by MT Groove, -
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A very good client of mine just offered me a very challenging audio job and I would like to get some advice from the forum members here since this is out of my wheelhouse. The shoot consists of up to 20 actors doing a table read. Ideally they would want an iso track of each actor and an automix of the entire session. I am not familiar with what gear exists to get this done. Are there automixers that have 20 inputs? My first thought was to stack four Sound Devices 664/668s to record the isos and then direct out to an automixer. I'm thinking that there is a better way to do this. Any expertise would be greatly appreciated.
Last reply by Phillip C Dent, -
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Hi everyone, I am about to start a movie shooting on Red Weapons and Editorial have asked the camera to shoot at 23.98 i have not worked on a film for over 10 years that wasn't shot at 24fps. Can done of the members here who work on feature films let me know what the current conventions for sound timecode frame rates and sample rates are for 23.98 picture speed in modern times? Sound would provide master timecode for camera. thanks.
Last reply by RPSharman, -
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Hey guys, Just finished doing a shoot with a sony f900 rolling at 23.98. I did not send my code to the camera. They were using Record Run. I sent a hard wired signal to the camera. Rolled my Cantar at 23.98 and jammed at ts-c at 23.98. The editor and post production supervisor sent me this: "Here’s a new one. Apparently the field team for this spot used a double record system for the audio, on an Anton Cantar-X field recorder. This is causing us some trouble and delays trying to get the material into the suite, at the correct frame rate." Then this: Waiting to hear back from the editor, on whether or not they can sort it out. Issues are; 1) Rec…
Last reply by studiomprd, -
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There is no 23.98 framerate in options on my Sound Devices 744t, only 23.976. When I'm told that 23.98 is required on a shoot, can I be assured that the above rates are the same. 23.98 is just a rounding off of 23.976. I read on-line that 23.976 can cause some issues with certain software in post where 23.98 is the requested framerate. Scott
Last reply by Marc Wielage, -
- 3 replies
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I have been asked to have a 55fps (sped up ) version of a 25fps wav file for lip syncing to, is there a way to do this, preferably with Mac OSX? Cheers PS
Last reply by Pat Slater, -
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Here is a question for euro mixers. I apologize if this it sounds like a very basic newbie question. Is 25fps still the standard rate for production in europe? Is 23.98 used or is that a north america convention? Is there a new frame rate for HD in europe? Thanks, john.
Last reply by afewmoreyears, -
- 10 replies
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Starting on yet another HVX-200 shoot, HD, 24P to P2 cards, recording sound both to my 702T and to camera and the editor has asked that I record timecode at the frame rate of 23.976. With this camera I have always used 29.97 because I have understood it to use that frame rate even when shooting 24P, but I did see an old post on RAMPS yesterday stating that under these circumstances it records at 23.976. Which is right? Arnold
Last reply by Philip Perkins, -
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hey Fellas, soooooo as I was about to do this show I that Im on now I send the post production supervisor an email confirming the required settings they wanted me to use and well the title says it all. Fine. In he middle of day two I get a panicked call from the 2nd Ad "Call the post house ASAP, major sync problems" so I did The nice man at the other end of the line told me that I set my slate to 3nd and the tc is off. I double checked and hmmm NO, I DID NOT! xxxxx Email 1: We are having MAJOR problems syncing dailies this will increases the time it takes to sync and our budget goes out the door. We are in Telecine 1 @ Westwind 818 525 2781 Bartek sh…
Last reply by FSBELLA, -
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That's what I have staring at me. I also have 8 RxTx and they want them ISO, so I have 2 744t running also. I've never run this setup before, so I am asking for any pitfalls some of you who have run this. These camera's have TC capabilities, as does the deck. I can keep the 744's in sync with just the c-link cable(can anyone tell me if I need to use some special cable that ISN'T a standard telephone cable). That gives me 2 TC outs. 1 to the switcher and 1 to the cameras(or should I jam every 3 hours). Will these cameras stay in sync if I jam, as opposed to linking the cameras via BNC? Do they need the Genlock also between the 3 cameras and deck to stay in sync? We…
Last reply by Michael P Clark, -
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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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So I have a four day commercial shoot. The shoot is on 35mm and all the subjects are on green screen. I've had my 744 for about nine months now and the hometown company takes my files off my flash card straight to their computer. This would be the first time I would be burning a disc to send with the film, off to the land of OZ. I tried to explain this to them and asked how they wanted to deliver it. I told them I would be recording at the standard rates for 24 fps film; 30 fps, 24 bit, 48 k. The only reply back I got was to send them cd-r's. Day one is here and we record our first shots and go to pack up. I get my slate back and notice the second had covere…
Last reply by syncsound,