Workflow
discussions about workflow from production through post-production
736 topics in this forum
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- 8 replies
- 919 views
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, -
- 2 followers
- 78 replies
- 6k views
Hi all, I'm starting a feature in a month. In a recent meeting re sound work flow with the sound designer, the dialogue editor, the picture editor and myself i came across the following that surprised me a little and to be hones upset me abit. The sound post people wanted to see if the editor could cut the picture with all the ISOs so they wouldn't have to reconform after. That I understand as it would save time, specially as this is not a big budget project and they don't have an assistant. But when enquiring why they wanted all the ISOs present in every take, bot the dialogue editor and the sound designer confirmed to me that they wouldn't be using my mix at all, that…
Last reply by studiomprd, -
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Hi, I'm starting a new european featurefilm, shooting with a arri lite 35mm camera. I know it doesn't have 'onboard' timecode but there is an acc called the 'in camera slate' has anyone used this to automatically sync Audio (DEVA V BWF files) with the picture ? or has anyone experience with this box ? and tips , do's and don'ts ? Best regards Jan Deca Brussels, Belgium
Last reply by jan deca, -
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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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- 732 views
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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So I've got a live recording gig coming up - a radio play, ala Prairie Home Companion, and I wanted your advice on the type, amount, and placement of audience microphones. I have access to a couple 416's, but there may also be a possibility to rent additional mics. The PA is hanging above the stage. What would be the best way to capture the audience in this small venue? Check out the attached picture. Thanks!
Last reply by Constantin, -
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- 3.8k views
A DOP friend asked me if there exists an audio equivalent of LUT for picture (Canon s-log,RAW etc.). I had to think about it. Are WAV files anologous (digilogous?) to camera RAW files? Out of my comfort zone.Comments?
Last reply by borjam, -
- 1 follower
- 55 replies
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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, -
- 1 follower
- 12 replies
- 1.8k views
I'm trying to get a better understanding of how audio and frames rates work together, take an H4N for example, I could record video at 23.976 or 29.9, and the audio file from the H4N would match to either one of those. I don't have to set a frame rate for that (I'm not concerned with jam syncing time code or anything). However, what happens if your film is shot and edited at 23.976 but your sound designer does all his work in 29.97? Will there be a four frame sync difference when you get the audio file back? I'm not familiar with most DAWs, do you need to set a frame rate there before you begin work?
Last reply by Joe Riggs, -
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Hello All, I'm likely doing a shoot where temperatures will drop beyond -40F. I have a Sound Devices 644 and Lectro 411/SM. I have worked in conditions of -30F but not colder. Has anyone been in this situation before? Did you have any issues? Did you use hand warmers or anything else to keep your gear warm? Thanks for any advice, Pablo
Last reply by Freeheel, -
- 1 follower
- 15 replies
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The DP on an upcoming interview job says the client suddenly wants to monitor on a laptop via an app called Zoom. At this point I have no info on what laptop will be available. I have a Mac and can only test on it. I have had no luck getting a feed from my 633, line or mic from main out, into the Mac. I got an adapter with trrs into the headphone jack that splits to two trs jacks, one marked mic and one headphone, but I cannot get the laptop to recognize the external mic. Does anyone have a clue? Thanks.
Last reply by TVPostSound, -
- 6 replies
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Hello Community, I hope this is the right place to ask this. I have run into a bit of a problem with one of my recent projects, due a rookie mistake on my part. I recorded the location sound for a 30 minute short film on a Zoom H6. Since this recorder has no built in Time-code functionalities I recorded the time-code from a Tiny Lockit onto one of the channels as LTC, syncing with the camera every few hours. The Tiny Lockit was set to 25 fps. The camera however was recording in 24 fps. Now I am wondering: is there anyway to convert the LTC audio files to 24 fps somehow? Can this be done once the timecode is added to a BWF? Or will post-production ha…
Last reply by Bouke, -
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has anyone here experienced with this editing application? the movie i'm currently shooting is starting to be edited with this software and, when a couple of days ago i went there to take a look, i noticed that none of my metadata was on the audio track in the timeline. no track name, for example (they are A1, A2, ...). the only thing i could see was my timecode on the audio files infos window. i 've searched around the web but i did'n find anything about that, i'm going to think that Premiere doesn't show (or import) all of my metadata info... my last project was edited in Avid and the editing department was very happy to tell me that they can see everything on th…
Last reply by Marc Wielage, -
- 9 replies
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In the USA, getting levels right for submission in post has been way behind the rest of the world. I just had a chat with my friend Bouke in Holland who has a neat and inexpensive piece of software you might want to look at for $29 Euros. It's called LoudnessChange (for Mac or PC) and is part of a suite of odd little apps from VideoToolshed. http://www.videotoolshed.com/product/68/loudnesschange Open LoudnessChange, select a profile (they're different in different parts of Europe and he's just added a Fox profile for the US). Click Analyze to check the file. Click Report to get a second-by-second report of where your audio is over, and with simple overall gain p…
Last reply by deep owl, -
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i wud be using a sd302 mixer with sony laples and a 416 and schoeps stereo mic for a small documentary shoot..would like to know is it advisable if i use Fostex Pd4 as master recorder and give analog outputs from it to red camera(cam sound is final in my case)..as Red records on 48/24 bit and Pd4 has 48/16 capapbility ......any and all suggestions regarding workflow will be helpfull.thanxalott Many options for Hdd recorders are not available here ..so the possible options for me here in India in terms of recorders are Deva,Pd6,Pd4 .....
Last reply by mikewest, -
- 3 followers
- 18 replies
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This is the 1st part in an ongoing weekly series looking at the audio post production workflow. We have enlisted the help of top end professionals in their respective fields to walk us through what they do and sharing some tips and tricks along the way. The series will be based on TV drama in the UK and these days takes a lot from the film workflow but also a lot of what applies is very similar in other genres all be it not on as big a scale. Part 1 - Assistant Editor, preping sessions Part 2 - Assistant Editor, preping sessions Part 3 - Dialog Editor, setting up dialog sessions Part 4 - Dialog Editor, preping for ADR and finishing the dialog edit Part…
Last reply by Philip Perkins, -
- 11 replies
- 3k views
I've been trying to consolidate my understanding of how NTSC frame rates (23.98/29.97) apply in a workflow when faced with delivery or production in a non-NTSC format. I've come up with the following document which I have attached to this post which distills my understanding of the subject into a one-pager. I don't for one minute claim that this document should be considered a reference. I am merely asking that someone might be kind enough to give it a once over and make some constructive comment. My thinking on this subject may not contain the most commonly accepted terminology and semantics, but using the language that I have has helped me to understand (…
Last reply by Alexander Burstein, -
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(Sorry for my english) I wonder what is the audio recording workflow on professional (for example hollywood) movies. I shoot only lowbudget amateur movies, so I dont know anything about it. I suppose every actor has hidden lavalier mic and tranmitter under his clothes and there is probably also a boom operator which records ambient sound and everything goes wirelessly into a some kind of a audio mixer and the recorded sound is then synced with the image in postproduction. Am I right? What kind of mics, wireless systems and recorders are industry standarts. Can somebody tell me more about this? Is there some article about this? Thanks for any information!
Last reply by Jon Gilbert, -
- 2 followers
- 36 replies
- 6k views
Hi everyone. We are shooting a reality (cooking with challenges) TV show next week. I'm gathering all needed information, techniques, advices in order to make everything smooth. I'm assembling 9 soundmen. We are using PSC Promix6 and Azden FMX42 for the mixers, Sennheiser SK 3063 and EK 3241, G2's and G3's for the lavs and Sennheiser MKH 70, MKH 60 and ME66/K6 for the boom mics. We are shooting in the Philippines. It's a cooking/reality/challenge show. Challenges will include river rafting, ATV rides among others. There might be lot of running, following the contestants. We are wired directly to a Canon C300 camera. The producer doesn't want a separate recorder since it w…
Last reply by maniemjr, -
- 3 replies
- 985 views
Assuming no double-sound in this question, just single or multi-camera video shoot with sound being recorded in cameras... Is there any reason I would want to set ANY video camera's sampling rate to 32K? 48K just seems to be the more common sampling rate for many types of sound recording gear. Is there some problem I could cause for post production by just SOP setting a video camera's audio sampling rate to 48K? Of course, everyone reading this is probably asking, "Are you talking analog or digital?" Well, both. If there's differences re: digital vs. analog, I seek answers to that as well. I'm still working in a strictly analog ENG/EFP world. The next can of …
Last reply by Marc Wielage, -
- 11 replies
- 1.9k views
Hello everyone. This is my first post here. I do a number of roles in video/film production including directing, camera and editing. But in the last year there has been more demand in my services as a boom op/production sound recordist. Specifically in the narrative branch which is the most enjoyable for me. As interest has picked up I've been adding to my sound kit. The most recent addition has been the Sennhieser G3 deluxe wireless kit from B and H. My package has arrived now. Before I dig into it I want to check into the wireless spectrum that is best for Seattle. My unit happens to be "A". A friend mentioned that that "G" is a good way to go. Somewhere in the las…
Last reply by studiomprd, -
- 1 follower
- 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., -
- 1 follower
- 30 replies
- 4.9k views
Does anyone here have any experience related to sending timecode wirelessly to a camera audio track and the workflow of using audio timecode in post? Timecode sync is essential for a upcoming production i will be working on and the style of Doc won't allow for TC slate or anything like that. Using the 664 I will be sending audio via 2 channel hop. I would like to attach a lockit box to ensure sync but there will be no TC I/O on the camera unless a extension is added. I'm pushing for the extension but if the budget won't allow it I, would the below set up work? 664 TC Lemo to TA5 female into the Lectro SMQV, then from the Lectro dual receiver to camera, …
Last reply by ninjafreddan, -
- 7 replies
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Greetings, Mainly for guys who do post too. The good folks at Automatic Duck have made their software free of charge. Last month the went to work for Adobe and the site was reduced to a what happened page. I just received an email saying the software was now free of charge, with no support. No big deal. The software I've used for years is FCP Import which allowed Final Cut Pro to import OMF files from Protools. It also has a version for FCP X. Grab it while you can. I don't plan on upgrading to X any time soon and these tools make working with Protools much easier.. Mark L
Last reply by Zack, -
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- 2k views
Anyone have experience bringing BWF files into this specific system: Avid Meridian Media Composer v. 11.2.6 on Mac OS 9? Some older Avids I've worked with have not been able to directly use 48.000KHz, 29.97ND files without drifting against 29.97ND video, but this one's "newer". 48.048-F? Thanks, ben lowry (cross-posting this to RAMPS)
Last reply by ben lowry,
