Workflow
discussions about workflow from production through post-production
737 topics in this forum
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- 8 replies
- 2.2k views
Hi all I know many of you use Movieslate as your sound report creator. I'm looking into it, but i like the option of using Cl-wifi to control and input metadata directly into the 788t and then exporting the CVS file for Movieslate to create the report. How are you guys doing this on location? The help menu of MS talks only about the option of emailing the file back and forth. Firstly that seems silly because what if I don't have internet on location? And assuming i'll have internet, how do i get the CVS file out of the 788t? If i have to use a computer for that, i rather use WaveAgent. Any ideas, solutions, apps? I guess all this will be solved with Ambient's Tonemai…
Last reply by cmgoodin, -
- 7 replies
- 1.6k views
Tonight, playing back a roll of Scotch 111 recorded in December 1964 (and maybe played twice since), to copy to digital. The tape is #59 in a long series of interviews with Dorothea Lange for a doc made about the making of her last show, and was lost from the series since the film was edited in 1965. It had ended up with a relative, for some reason, and thus was indifferently stored in a box of misc photos etc in an attic somewhere. The tape played perfectly on my disused Nagra, the sound was clear and full, whoever recorded it (prob Nagra III) used a good mic and good positioning. I doubt very much that a tape recorded in 1984 and stored similarly would play so well …
Last reply by Scott Smith, -
- 25 replies
- 2.7k views
I am looking for an easy way to trim an audio file while keeping tc information. Lets say the file starts at 00:00:00 - I want to edit out the part from 00:10:14 to 00:10:60 and the starting tc of the new file should be 00:10:14. Is there an easy way to do it?
Last reply by NewEndian, -
- 12 replies
- 1.3k views
Hello everyone. I've been asked to do a shoot that strikes me as something that sounds simple, but is definitively not. Shoot request from the producer is as follows: 2 actors watching a television show and commenting on the show. Sound from TV to be recorded on location. Many thoughts come to mind, but first it will help you to know that this will be shot with a skeleton crew (3 person crew total). Field Producer, DP doing everything camera and lights, and sound. There has not been any request for timecode of any sort, and there is no possibility at all of a playback operator or any form of person who might assist in that respect. I also don't know the typ…
Last reply by Wandering Ear, -
- 1 follower
- 44 replies
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I've recently saw a tv show where the host used two lavaliers. I'm assuming that reason for this is having a backup microphone, right? Anyone used to this procedure?
Last reply by mikewest, -
- 9 replies
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I've just received word that newer Deva recorders will not have UDF formatting capability. Is this a sign that UDF is going away ? Mention was made to certain incompatibilities with certain computers and operating systems, but no specifics. Does anyone have any examples of problems that have occurred after supplying production with a UDF disc? Easy fixes or complete catastrophes ? Fostex is quite "invested" in the UDF formatting, correct ? I believe that the 824 ONLY formats in UDF ... Are there any other post machines besides the 824 and the DV40 that are getting a workout in telecine or post ? Mike Filosa, CAS Atlanta
Last reply by Thomas Popp, -
- 17 replies
- 6.4k views
Hey guys, I am sure this has been covered before on here but I was wondering if anyone could tell me their process for working on a shoot. I am really new to this area of audio (I recently had a lecture from a soundie at SAE where i'm studying audio and was inspired so much so that I am starting a company with a friend) and need to learn the ins and outs before I try my hand at it! Any advice at all is much appreciated. Cheers, Pip.
Last reply by sounddguy, -
- 15 replies
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I'm trying to wrap my head around this idea I had... whether GPS time sync could be a possible solution to free us all from jamming, cables, frame rates and drift headaches. Could GPS time become the universal time stamp we all use to synchronize all of our audio and video devices -- anywhere, anyplace, as kind of a universal GENLOCK? Think about it... tiny little GPS receivers either built-in to recorders/cameras or added on as simple low cost accessories. I read that the accuracy of GPS time is in the order of +/- 0.1 second. If it could transmit TOD in nanoseconds, then wouldn't it be possible to interpolate any given frame rate sync derived from it? I a…
Last reply by DBurnette, -
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Hi all, friday i should record the audio for a sort of theatre piece, there' will be 17 people on stage, 2 cameras shooting and no microphone could be seen. Very low budget project. I think i'll go with some spot mikes. the gear i have is : SD744, 1 mixer mackie (no direct out!) , 1 mkh 50, 2 octava mk012 with all 3 capsules, 2 samson c01. To have more tracks i could bring a motu 896hd and my mac running PT. With the mac based situation i could have 5 mikes spotted around but with a very difference in sound. I 'm also thinking about making an MS configuration, for example putting mkh50 and a samson (8figure) in front of the stage (no public btw, the room is 30 meters) and…
Last reply by afewmoreyears, -
- 20 replies
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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, -
- 6 replies
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Reading the post elsewhere on this forum about the new Macbooks (maybe) not having Firewire, reminds me how hard it is nowadays to find external firewire drives - most shops here (apart from Apple stores) only cary USB 2 drives. They are supposedly as fast as FW400... Has anyone had any experience using USB 2 external drives with Boom Recorder, 48K/24bit at track numbers greater than 8? I've gone up to that with no problem (or been lucky), but do the odd 16 track concert recording and want to know if one can go there with USB 2 drives. Many of the manufacturers of Audio Interfaces seem to be going USB or offering the choice as well - the wider music market is, like …
Last reply by Philip Perkins, -
- 16 replies
- 6.7k views
I need to create a thump track. A daw with an internal metronome would be best. Most have internal click track generators but they are pitched too high to be a good thump. I have tried cutting low freq tones and cutting a pasting them into a timeline but that is not the most efficient way to do it. I tried this method with audacity but strange annoying clicking artifacts were revealed. ideas? john.
Last reply by seppesvg, -
- 2 replies
- 1.1k views
Doing location recording for a shoot and I have two boom ops. I'm looking more for general coverage than focused miking so I'm thinking I might be better off with a wider cardioid rather than a shotgun mic as a lot of the coverage will be for wala type crowd scenes. I have AKG 391B's but I've never used them in this capacity. Does anyone have experience with these as boom mics? How do they handle dialog? Can they hold up in cold weather? Any insight would be appreciated. thanks.
Last reply by Adam D, -
- 2 followers
- 72 replies
- 7.7k views
This question goes out to those doing feature movies and/or episodic TV who have managed to wean the production off DVD-RAM. I would like to know some of the details regarding how many CF cards you typically have on hand, do you cycle them back and forth from production to post and re-use, who purchases the cards, are they considered expendable and so forth. Also, has there been any resistance from the studios (and this only applies if the cards are being returned and re-used) that they no longer have a stable archivable media (like tape or an optical disc) for each "sound roll" on the production. I have quite a few other questions but we'll start with these.
Last reply by Richard Lightstone, CAS, -
- 6 replies
- 1.9k views
Hi all! I had some questions about video sync option on the 788t. From my understanding, video sync ( tri-level, black burst etc.) is used to keep video frames from two or more cameras in sync with one another by ensuring each frame starts at the same time. My question is, what's the purpose of the video sync input on the 788t? If there is no frames of video to align to and the unit is already using a given sample rate, what would be the use of this function? What applications would one use video sync for? One of the functions I suspect video sync is used for on the 788 would be to ensure that the timecode metadata is in perfect sync ( in phase ) with …
Last reply by ccsnd, -
- 2 replies
- 946 views
Hey everyone. I am trying to use zaxconvert to convert a file from 23.98 to 29.97. When I open zaxconvert, I only see the option to "pull up" or "pull down". I am not quite sure how to takle the conversion from 23.98 to 29.97. Any help is greatly appreciated. Thanks in advance!
Last reply by howy, -
- 3 followers
- 8 replies
- 1.8k views
Hey everyone. I am trying to use zaxconvert to convert a file from 23.98 to 29.97. When I open zaxconvert, I only see the option to "pull up" or "pull down". I am not quite sure how to takle the conversion from 23.98 to 29.97. Any help is greatly appreciated. Thanks in advance!
Last reply by Ze Frias, -
- 12 replies
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Intro Hi guys, tuning into this awesome forum for some of the usual life-saving help. So I just finished production mixing for my second feature length movie. Landed doing the audio post which will be a first(except mix). A daunting task at the least, but living in the Dominican Republic, people dont really have a miriad of options, eventhough I am fairly inexperienced in the film world, I have been doing commercials and documentary work for over 7 years. Anyways I digress. While i was doing the production audio for this movie, I made it a point to have my recorder jammed from the Panasonic HD Varicam any chance I would get. (since i was running a h…
Last reply by Marc Wielage, -
- 10 replies
- 1.5k views
Help. I've just been told that there is no sound on video I/we just shot for a very important client. The camera is a p2 varicam, and the only difference is that the client is european, so the shooter changed his fps to 25 for euro market. He kept his codec at 24pn. When recording, the bars were moving on the camera. On playback, there is no sound. I have backup, but without timecode. Has anyone run into this, and is there anyway to resucitate that sound on the video? Thanks. John
Last reply by Marc Wielage, -
- 13 replies
- 1.9k views
so I got a gig for a tv dcumentary series where I do the production recording, but also deliver the mixed and cleaned up audio to the editor. And so I did, only to find out that she can't import the audio to the Avid project. After some troublesome trials she found the problem to be that I delivered 24 bit audio (48KHz) but because the DV video material uses 16bit audio - even though none of that is kept - avid won't accept 24bit material. Please excuse my ignorance, but is that so?
Last reply by whatalob, -
- 7 replies
- 1.1k views
Ok, I have never had this problem before but I was doing a simple sit down interview with a southern man. The workflow was Cmit 5U into a SD 788T via xlr, And B6 on 400A to 411A. At points when the man started speaking at a higher level like at the beginning of a sentence or got excited, his voice would distort. But the levels on the 788T got no where even near the limiter, or they got to about -8 or -6 db. The same problem was NOT occurring with other people with no such accent. Any ideas?? Thanks, Np
Last reply by Npoberaj, -
- 13 replies
- 2.3k views
What is your workflow for routing the video assist playback through comteks?
Last reply by Mike Westgate, -
- 0 replies
- 969 views
Shoot today w/ Sony EX-1. Client, as is typical for this kind of shoot in my area, wants primary audio recorded to the camera. We have a data wrangler/kid w/ laptop for downloading the cards and checking footage. First-thing-in-the-morning-TC discussion reveals that camera assist/data guy doesn't care about free-run vs record run TC. I have an "aha" moment: most of the objections to free-run TC in the past had to do with issues in digitising the video tape, esp into Final Cut (code breaks causing problems for post people who didn't understand how to deal with them). Now that there isn't any tape digitising going on.....nobody cares about record-run TC. Cool, I say--…
Last reply by Philip Perkins, -
- 1 follower
- 7 replies
- 1.6k views
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, -
- 5 replies
- 1.1k views
I'm working on a project right now and we've used a few different audio recorders for the dialogue: Apple MacBook, MiniDisc and most recently the Zoom H4n. The latter of these three produces phenomenal results. Almost too phenomenal. The issue is that the film is shot on Super-8mm and digitally mastered to HD. This produces a look that is not disimilar to the old style film look that you might find in classics like The Good, The Bad and the Ugly. It's a very rugged and raw film look. Works quite well. The issue, is that this rugged image does not compliment the pristine clarity of the Zoom. I'm wondering if there are any good filters/plugins for Logic Studio that can crea…
Last reply by Marc Wielage,
