Workflow
discussions about workflow from production through post-production
736 topics in this forum
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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, -
- 21 replies
- 10k views
Hey Guys, Just a quick question, I have been reading about on set music playback in the forms, and I couldn't find how exactly to make a Timecode Audio Track in Pro Tools. What do you guys use to generate that audio? Third Party plug in? In Pro Tools method? Standard audio files that you use over and over? (I have PT9 on a iMac.) Thanks guys
Last reply by Philip Perkins, -
- 6 followers
- 43 replies
- 10k views
On some kind of mythical, possibly Quixotic journey to get marked up sides onto the iPad. Solving: Easiest way to highlight the sides from .pdf script and export to iPad app cable of interfacing with Bluetooth page-turning hardware pedal (PageFlip Firefly $109/two AA batteries is the hardware I chose). ForScore is the first and only PageFlip-compatible app I've tried. Pretty good, but would prefer an app better suited for highlighting in many colors. This one requires I hand-build all the highlighter colors and is clunky when switching pages (you have to get out of highlighting mode first) and clunky to change colors. Moot if there's an app made specifically wit…
Last reply by Scriptation, -
- 3 followers
- 75 replies
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Hoping to get some insight on the following: First off I'm in post and I'm used to getting 1 audio file per take, and that file will included all the audio tracks recorded for that take, so when I drop it in the timeline, all the tracks are connected. This production sound mixer has been recording each track separately, so for scene 1 take 1, I'll have 4 files: 001Take1 - boom 001Take1 - lav 001Take1 - lav2 001Take1 - lav3 So now I have to select all four files, bring them into the timeline and connect them for each take. Not the end of the world but just really ineffcient amd unless they are using a H4N, I've always received one audio file, w…
Last reply by Max Futterman, -
- 4 followers
- 76 replies
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I hate to admit this, but I had a take not record for the first half on a pretty intensive circled take with a 20 minute background and animal reset and only one or two opportunities to shoot it. I didn't quite push the roll switch all the way up and didn't notice it for about 30 seconds. I mixed the take perfectly and it sounded great, but half of the track wasn't on my machines. A world of pain and cross eyed looks could be on its way to me.. Until I remembered that I have a good hard line signal going to my buddy Dan from Videohawks. I walked over to Dan with my hat in my hand and gave him a thumb drive (with my free hand) and politely asked that he give me the playbac…
Last reply by Joe Riggs, -
- 1 follower
- 35 replies
- 9.6k views
This question goes out to all but specifically to our resident post expert Marc Wielage: when, if ever, do you think CF (or any other solid state storage device) could become a standard deliverable to telecine, replacing the optical disks that have finally become the standard? This topic has been discussed quite a bit here and on r.a.m.p.s., and it seems that the submitting of CF cards is happening in other countries, particularly where syncing resides with picture editorial and telecine is often picture only. Here in the US, the telecine process is the first stage and almost always produces the daily sync material delivered to editorial, so facilities would have to find …
Last reply by Jose Luis Diaz, -
- 7 followers
- 64 replies
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Hello all! Long-time lurker, first time poster here. Firstly I’d like to say how grateful I am to you all for maintaining this amazing site, for people like myself just starting out it is a fantastic resource. The fact that I am only just posting here with questions now is a testament to the richness of debate that goes on here. Keep up the good work! So I’m going to be mixing my first low budget feature next week, I have worked mainly as a solo sound recordist and boom op so far and have very limited experience producing a mix track. This time I’ve got a great boom op and a sound utility gal working with me so I have an opportunity to get my head…
Last reply by JamesP, -
- 14 replies
- 9.3k views
Hi group, I have been delivering mono files to post since I got into Multitrack non-linear recording on set, with no issues from post from day 1 of this system. I noticed recently on other subjects that people are still delivering poly files. What is the benefit of poly files? I Think Avid Media Composer in earlier incarnations used to need them and the DV 40 for dailies, but what is the current usefulness of this format? Time Code and unique file names should make everything more malleable for post audio, I would think. Or am I missing something? I have the option of delivery either way, but am just asking what is the benefit one way or the othe…
Last reply by Marc Wielage, -
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- 47 replies
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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, -
- 49 replies
- 9k views
Hey y'all. I'm new here, but I've been mixing/booming freelance for about six years now and I keep finding that there's no "one" way to mix a narrative feature, but I'd like to read how all of you go about your work day. I was let go from a shoot recently by a sound mixer I haven't worked with much in the past. I was his boom op and utility person. I was fired in a passive aggressive way, and I don't know his personal truth behind it all, but I'm perplexed as I've been moderately successful at this craft. Enough to keep making a living at it after six years anyway. My hunch is that I wasn't up to snuff with his ideas of a good boom operator. He'd get frustrated …
Last reply by Sebben, -
- 35 replies
- 8.9k views
Hello Folks, I'm trying to nail down what I need to do to turn in 48.048k files with 30ND time code to an NTSC TV show which shoots on film (24fps). They are accustomed to DEVA V files stamped as 48048 30ND time code. Previously with my DV824 I set 29.97ND 48k with 1% pull up. No complaints. I turned in a back-up from the 744T at 30ND and 48048 - no "F" - but imagine it was never looked at. Now I am using Boom Recorder and 744T. The 744T has 48048F, which I believe automatically defaults to 30ND time code, stamps files at 48k forcing DAW to slow files to 48k 29.97ND - But since this is a real show with real equipment, I don't believe I need to trick any sys…
Last reply by takev, -
- 60 replies
- 8.7k views
Hi, So I have job coming up with the canon 5d mark ii camera. Anyone know what frame rate to set my 744? I guess 29.97 ndf? Thanks, Leone
Last reply by studiomprd, -
- 3 followers
- 53 replies
- 8.7k views
I would like some suggestions. I currently use a 552 mixer, synced to a 744T for timecode. Generally I do my mix tracks in the 552 and my ISOs on the 744T. This works great because the mix tracks are already separated for the editor and can be joined if needed in post by timecode. It also sucks because there is no way to label shots inside the mixer, so I have to re-name all the mixer files to match the recorder files afterward, while generating the audio report in Wave Agent. Any one else deal with this? What is your process?
Last reply by Bouke, -
- 1 follower
- 16 replies
- 8.3k views
Thought I would throw this out there. I have a last minute playback job for tomorrow... chances are I'm not going to have access to my PB files until call. I've been told by the mixer that the track had embedded TC, but he isn't sure whether it is striped as audio or just stamped in the Bext chunk (producers currently have the file). In the event it just has a SMPTE timestamp, does anyone know of an elegant (preferably software based) solution for generating an LTC track from the headstamp? I found this app called BWF timecoder which seems to fit the bill, but at $100 for the license, I would rather just playback from one of my field recorders and record the audio a…
Last reply by Richard Lightstone, CAS, -
- 3 followers
- 65 replies
- 8.3k views
Here's a question for location sound recordists who have worked on, or are prepared to work on, shoots in which the principal camera is a digital single lens reflex camera or, with the release of the new Leica M, digital rangefinder camera. From a sound recordist's perspective, what are the best practices? In an ideal world, what would you tell the producer or director of a video using one of these cameras what you want him or her to do to get good sound and a smooth workflow from capture through post-production? I'm aware of the pinned thread Canon "5D shoot workflow", which contains a good number of posts about poor practices and frustrations. The idea behind this t…
Last reply by mikewest, -
- 11 replies
- 8.3k views
I was wondering how time-code on an audio track is translated into linear time-code. Any help is appreciated Matt
Last reply by chris_bollard, -
- 60 replies
- 8.2k views
I've been talking to a producer about a gig coming up on Saturday, recording some live music to 2 C300's. I've strongly suggested hiring in some lockit boxes to keep both the cameras and audio in sync, but they seem pretty confident they won't need them (and I'm not). They're not looking at using the whole take, and just using excerpts for a promo video, will it be manageable in the edit to send them a scratch track to each camera, even though it's very likely the files on each machine will be different lengths?
Last reply by ccsnd, -
- 1 follower
- 52 replies
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I hesitate to even bring this up, but this recent conversation on the RedUser Group was so sad and funny, I wanted to share it here: http://www.reduser.net/forum/showthread.php?109349-Why-is-sound-still-like-this The short version of the story (50 messages and climbing) is the guy asks: Coming out of a big production with two and three cameras for every scene I'm now drowning in the complexity of editing. Now I'm wondering why there still isn't a good option for working with sound. Why isn't cameras able to include good audio handling? Enable a large quantity of audio tracks and a high fidelity? The audio professionals on set are still recording to an exte…
Last reply by mikewest, -
- 34 replies
- 8k views
Today I searched jwsound.net, without success (perhaps I spent too much time reading the "worst mess up on set" thread, nearly crying reading The Senator's very empathetic commentary) for some consensus regarding how transcript houses want to see timecode on mp3 transcript recordings in terms of bit rate and "where" time code is best placed in an mp3 for their convenience-- embedded or as an audio track. My present findings in the NYC market, through word of mouth in talking with other NYC Soundies and having called Transcript Associates in NYC when we began the switch over from transcripts on cassettes, is that houses often have TC read problems with bit rates under…
Last reply by studiomprd, -
Roll number 1 2 3
by takev- 55 replies
- 7.8k views
Hello everyone, So a couple of weeks ago I saw the video about the CAS meeting for non-linear workflows. Roll numbers caused a heated discussion. The mixers don't have a use for roll numbers at all. The archive people would like a roll number for each day, so they propose the date, which fits inside the 6 digit roll number, they don't care about multiple media to have the same roll number. But the telecine house doesn't like this because they would like a roll number for each medium you provide; you can not attach an extra digit to the date because the roll can not be larger than 6 digits. So I just had a tought. How about a 5 digit days-since-january-1st-2000.…
Last reply by Noah Timan, -
- 45 replies
- 7.8k views
I have a shoot coming up using Panasonic hdx900 cameras. I know that Panasonic defaults to 29.97 for tc. In an email to the "tech person" I mentioned that and wanted verification that 29.97 would be fine and their response was: "we only shoot 720 59.94 we expect you to do the same" After a very polite email trying to explain to the person that they have no idea what they are talking about I get this: "we shoot 720 59.94 drop frame this is in our style guide that we sent out we will have major issues if that is not adherd to" How would you proceed. By the way the shoot is tomorrow and ive been trying to contact someone regarding this for over a week
Last reply by Marc Wielage, -
- 2 followers
- 72 replies
- 7.6k 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, -
- 2 followers
- 27 replies
- 7.5k views
Guys, i have a good question here. DId a shoot ( 3 days and then 2 days ) on a Canon C300. The order was sound on the camera ( dialogue ) and Isos for Dialogue and some Sound effects and Ambiance on the recorder. Used a Lectrosonics SRA5P and a Denecke SB-3 on the camera. Now Post requested 29.97 Drop frame. I set the denecke to switch 9 ( 29.97 df ) and my 788T to the same, and also set the camera to 29.97 and DF. Hooked up the SB3 and the Canon confirm receiving TC by displaying an E next to the running code. Everything looked synched. Jamsync and check at lunch and end of day everyday, all was good. Got a call from Post. It looks like when i roll sound for…
Last reply by Hala, -
- 2 followers
- 51 replies
- 7.5k views
How many people are using electronic sound reports and what programs are you using? Is this something that you have adopted on your own or has it been requested by production and do you do a paper backup? I am doing a studio show that will run until December so this will provide me with an opportunity to play around with different programs. I am thinking of using Movie Slate even though I wont get the full benefit due to the fact I'm using a Deva VS a SD product. I know there has been some previous discussion regarding this but is it just a toy to have on the cart and one more thing to hang off of it? So far production has not requested the use of shared meta data on se…
Last reply by Sound Intuition, -
- 3 followers
- 45 replies
- 7.3k views
Hey guys, Just wondering which among you do sound reports manually with pen and paper or do them electronically with a laptop, iOS device, etc. (or who doesn't do them at all? I.E. OMB? Reality Shows? etc.) Also wondering how often you put a reference tone file (-20dBFS) in the daily folder for post? Is this still needed usually? Thanks Guys!
Last reply by Constantin,