Workflow
discussions about workflow from production through post-production
736 topics in this forum
-
- 1 follower
- 134 replies
- 55.8k views
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, -
- 12 replies
- 480.8k views
Dear All, If you have a minute to think about a simple Workflow Survey questionaire, please post your ; comments, other forms, ideas, thoughts, etc. into the folder located in the file section.. Ideally limiting this form to less than a page using (KISS) and still containing enough information to avoid "Post-Mortum". Sincerely Ron Scelza http://ronscelzasoundrecording.com WORK IN PROGRESS: “WORKFLOW SURVEY FORM DRAFTâ€� (up Loaded to the Files Section) ------------------------------- Question One of many questions.. If only one multi-track media (up to ten track) were delivered to you from production sound; What type of media (DVD-RAM, Fire wire…
Last reply by Simon Paine, -
- 1 follower
- 17 replies
- 448.8k views
I have read statements on ramps to the effect that producers insist that stereo recordings of ambient sound be done XY or MS to ensure mono compatibility because large numbers of people still own mono television sets. A few questions: Does this mean that nobody recording ambient sound for movies or television uses ORTF? (In these same ramps discussions, I have seen suggestions that ORTF is used, and that in the real as distinct from theoretical world, it works.) What exactly is it about an ORTF recording, when received in a mono receiver, that is nasty? Does this mean that broadcasters are broadcasting in both stereo and mono, or that they are broadcasting in s…
Last reply by Philip Perkins, -
- 6 replies
- 279.3k views
Dear Sound guys and girls, I'm about to start working on my first Doc. It will be shot with the DVX-100A. I owe a small audio package, (2x411 lectro,2x sennh G2, 416 and 816 mics, an X5 wendt mixer). The producer wants to record Audio straight to camera. My question is, should I have a backup system, if so, what are my options? Any other gear I should get my hands on? Thanks for your help. Ferdi. Ps. Mr Wexler, Thank you for putting this discission group together, I'm new to sound mixing and a discussion group like yours is a dream come true. Best regards.
Last reply by Ferdi, -
- 7 replies
- 178.7k views
I've posted the latest version of BWF-Widget Pro Ver. 1.160 and BWF-D-Base Ver. 1.6. They both now can create ALE files to allow import of files and much of the metadata from BWF files into Avid editing systems as well as Final Cut Pro.using Cinema Tools. So you can now create an ALE file to include on each DVD-RAM disk you send in to allow easy import of Timecode, Scene, Take, Track Names and Notes and other metadata from the original Production Tracks into any Edit project. For more info go here: http://www.bwfwidget.com/html/new.php ---Courtney
Last reply by redge, -
- 8 replies
- 65.7k views
Hi all - I've got a reality show pilot next week where I'll be sending a radio feed from a 442 (by way of Lectro wireless) to camera. Does anyone have any experience regarding whether those cameras like to receive line or mic level better?
Last reply by Ron Scelza, -
- 19 replies
- 50.8k views
Hi All, I had originally posted this to the 1st time w/Red thread under "Equipment", but it is more appropriate here under "Workflow". I will be doing an eight-day shoot with two Red cameras very soon. It is a dialogue-intensive comedy pilot. The editor and I have spoken, and the DIT and I have spoken, but knowledge is thin and I want to avoid problems. I am recording on Deva Fusion with a 774t as backup (available; not sure I'll use it). The editor plans to edit on Avid Media Composer and does not want to be stuck (or have an assistant be stuck) having to sync files by hand. He is concerned this will happen. The DIT says Red is optimized for FCP and he knows …
Last reply by Marc Wielage, -
- 14 replies
- 33.4k views
Been a while since I checked but I take it no one has yet figured out a way to jam an HVX or a Sony EX-1 (which I'm working with shortly)? thx, A.
Last reply by Philip Perkins, -
- 2 followers
- 53 replies
- 33.2k views
I'd like to re-introduce a subject that is of particular interest me currently and it pertains to gain structure in the wireless workflow from talent mic to camera send. I have always been told to output from Lectro receivers at a low level and to input to the recording device (recorder or camera) at mic level. In a past post, reproduced below, John Blankenship makes a convincing argument against this and I'd love to hear further discussion. JB Post: For instance, let's say you are running a mic into a mixer, from whichyou have a line out cable into the Lectro transmitter and then goingmic level from the receiver into the camera... Here's whatyou are doing signal…
Last reply by Mattias Larsen, -
- 12 followers
- 94 replies
- 28.8k views
Rado's recent RM-11 thread inspired me to share my own COS-11 mounting technique. It's become my go-to mount for most wardrobe choices, works well mounted on both clothing and skin, and (knock on wood) it's been consistently trouble-free for me. A-What I start with: 1-The wider top-stick toupee tape, cut into quarters. 2-Standard thickness moleskin, cut into base, and top layers, with top layer being a little wider than base. 3-Thick padded moleskin, cut into small "bumpers". B-The "pre-cuts" that I keep prepped in my "lav-be-good" bag. The top-stick stuck to the base layer, with the peel layer kept on until mic selection and color are decid…
Last reply by John Blankenship, -
- 5 followers
- 96 replies
- 25.8k views
Hi everyone, I'm new here on jwsound. (first post). I have a job coming up that has a lot of interior car scenes with dial (while driving). I was wondering what the best way to record them might be. What kind of mics, placement etc.? Would love to hear some of your tips and tricks for a tight squeeze situation like this. What worked, what didn't work … Thanks.
Last reply by Christopher Mills, -
- 6 followers
- 77 replies
- 21.3k views
Hey Guys, Curious what people are using for your boom operators to listen on. Comtek? Lectro IFB? Zaxcom IFB? Hard wired? (duplex cable?) Boom box? Or maybe listen off the signal pre-recorder with a SD MM1?
Last reply by JesseKaplan, -
- 2 followers
- 68 replies
- 20.1k views
What are the advantages of setting wireless mikes to line level vs. mic when it comes to dialog scenes? My preference is to always set them to mic for any show where I am the main mixer. About 60% of the work I do is in reality TV and when I day-play for other reality shows that have their workflows already established, I've noticed that most of them have their mixers switched to line level for their wireless receivers. I am not one to disturb another show's audio workflow, and so I will mix the wireless mikes at line level for the whole day--No problem. However, what my ears tell me is that low level passages of dialog do sound very faint compared to when wireless mi…
Last reply by soundtrane, -
- 1 follower
- 15 replies
- 18.9k views
Hey Guys! Question about timecode that has been recorded onto a nonlinear digital audio track via a recorder's analog mic/line input! I am entertaining the thought of sending timecode to a Zoom H4n recorder with a lockit box. But wonder if done correctly, can this prove to be a hassle anyway for editors in decoding the TC? I am sure retrieving timecode from an audio track can be done, but is it always an easy process for the editor? Can decoding timecode always be done with little issue on Pro-Tools, AVID, Adobe Premiere, Final Cut Pro, etc? Or does retrieving timecode from an audio track require extra work such as searching the net for the right decoder plug-in…
Last reply by chrismedr, -
- 2 followers
- 34 replies
- 18.9k views
Hi All! Inspired by Rado's and Atheismystic's RM11/ COS technique threads, I have decided to post my own Tram-50 technique. My technique is similar to the turtle clip accessory offered by Tram, but offers a lower profile and the ability to customize/adapt the cage. It also avoids the vampire clips that come with the Tram mic cage. This technique isolates clothing from rubbing the mic capsules head. In addition, this techique allows the mic to act as a boundary microphone of sorts. I find this improves the tonal qualites of the mic and to my ears, makes the sound of the mic less honky. It also picks up the resonation of the chest well. And now, wit…
Last reply by whatalob, -
- 3 followers
- 216 replies
- 18.8k views
posted by fellow sound mixer Frank Kruse on the avid forum (see the link for detailed information): Hi, I've finally found the time to trace an issue we've encountered for years now but that we always manually "fixed". Conformed original BWAVs are out of sync by up to a frame compared to the AAF. Here's the normal workflow: -Production sound recorded on Cantar, Deva, SD788 etc. Direct import into AVID MC converts to MXF audio. -Copy all AVID audio media to PT and transfer cut via referenced AAF -Expand to tracks using original BWAVs from production recorded. So far so good. When listening to the conformed tracks against the AAF there are random syn…
Last reply by Wandering Ear, -
- 1 reply
- 17.5k views
Dear All, I am really impressed with what Courtney Goodin has been creating for us. This time with a program "BWF O Matic"... http://www.bwfwidget.com It offers a neat array of needed problem solvers.. I wish I had it last week; Situation: I needed to extract from a 2G, BWF-P back up file a 1min plus take. (I wanted to preserve the metadata and time code and deliver it as a BWF-M on a DVD RAM) -- What fun that was that day Without "BWF O MATIC". It was a pleasure with "BWF O MATIC" -- It took me a few minutes... Sincerely Ron Scelza CAS http://ronscelzasoundrecording.com
Last reply by cmgoodin, -
- 1 follower
- 25 replies
- 17.3k views
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, -
- 5 followers
- 81 replies
- 15.9k views
We work in an industry of large ego's and personalities, usually in high pressure environments. Inevitably, arguments and tirades make their way onto set. What have you seen? How have you diffused the situation? How would you deal with an actor throwing a transmitter across set or a stressed out AD that insists on rolling without sound, etc. Would love to hear the horror stories and the creative solutions you've used on problematic sets.
Last reply by IronFilm, -
- 1 follower
- 18 replies
- 15.3k views
I'm trying to get a true sound of a race car going up through its gears but I'm finding it much harder than what I thought. To get the sound I want I need to mix both engine and exhaust notes. I know some productions have been able to get the car on a dyno but unfortunately we can't get the car to one so it has to be done on a race track. I've tried mounting lav mics (with fluffy wind jammers) in secluded sections of the engine bay and under partially secluded sections of the back of the car but the wind still just pummels them. The engine bay is a nightmare as the mics are hammered by the airflow but also from the heat of the engine which is like a furnace. …
Last reply by mikewest, -
Do We Still Need a Production Sound Mix Track when Multi-Track Recordings Are Requested? 1 2 3 4 5
by jon_tatooles- 8 followers
- 106 replies
- 14.9k views
I am putting together material for a training seminar, and I am at the point of discussing projects demanding full multi-track (iso) audio recordings from production. In this scenario, how relevant is a production mix track? Even when post isn't asking for it? Thoughts?
Last reply by Philip Perkins, -
- 2 followers
- 57 replies
- 14.6k views
So I have an actress friend who is going to make a music video in the near future. I told her I'd help out. I don't want things to get too complicated, and I have no idea what kind of camera they are going to use. I own Protools Micro, so I can have music from LEFT (out to a pair of 450w JBL EON) and TC out of RIGHT (broadcast to my Denecke slate with a 216). Is it any more complicated than that? Can it even be easier with waveform matching? Do I even bother with the TC slates? I don't really want to bring my whole cart, since it's on a show. The editor is "proper" feature editor. Also a friend. So he ought to be able to handle any workflow. …
Last reply by JCC, -
- 3 followers
- 49 replies
- 11k views
So I'm in discussions with a production, that needs to have some playback on set. I searched through the site as well as google and didn't come up with anything. If you know of specific threads I would love the links. It's for a typical square dancing scene. While I feel comfortable as a mixer in narrative and broadcast (my bread and butter) situations, I've never done playback on a set. Playback in broadcast usually is worked out in pre-production with the script and cues, editing them and programming them into a playback machine. I can imagine it would be similar for a film production but I want to know what is the standard. So if someone would be kind enough to be…
Last reply by JonG, -
- 1 follower
- 34 replies
- 10.7k views
I'm getting ready for a five-week documentary project which is basically a road movie, and will feature long stints in an SUV. I'm planning on rigging it semi-permanently with a 552 wired to two (or three) planted mics. I'll use a separate bag for the walk-and-talk portions of the shoot, with wireless mics and a boom. The driver and the passenger –the two subjects of the film– will be mic'd in the car as well, but I'd rather rely on the planted mics for the driving segments. I have a couple of concerns, which I hope you guys might help me address: First: the plan is to start recording on the mixer in the "hero" car (which is rigged with GoPros and, occasionally, A cam…
Last reply by taylormadeaudio, -
- 18 replies
- 10.3k views
Hello. I recorded some separate audio on my SD 552. (Maybe 100 wave files), and I'm wondering if I can add TC to them (stter the fact). It doesn't have to match any other TC (cam didn't have TC) - I'd like to know in case they want to transcribe audio. thanks John
Last reply by Marc Wielage,