Workflow
discussions about workflow from production through post-production
736 topics in this forum
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I see a lot of people carry about the amount of mic preamps on XYZ mixer / recorder. Personally I use at least two mic preamps and the others are wireless (so the mic preamp is the transmitter). I see and read a huge amount of sound mixers to worry about "how many mic preamps have this". Curious to see the results. You must not be confused with "how many tracks".
Last reply by Jaymz, -
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I think I am still missing something. I get that if there is a risk of the "green flash" or other internal camera confusion, then tri-level is recommended. Perhaps if there is some sort of live switcher being employed on set or on a tape show if the original tapes are being used to tape-edit the show (don't know if this is ever done anymore), that providing tri-level sync/genlock to multiple video cameras may be considered important. But in a narrative form, with current NLE systems, in what circumstance in the post process can an error occur if tri-level sync was not fed to the multiple cameras? Thinking of it like a multi-camera 35mm film shoot, with dailies and…
Last reply by studiomprd, -
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So I'm on a shoot ending today that has some very sweaty actors doing some physical struggling and lots of shouting. My question is basically how you all have dealt with moisture like sweat(real or not), make up/lotion, blood etc getting near your lav mics. I've been using transpore and moleskin as well as rycote undercovers but wondered if there is a better method of keeping my mics clean and safe from harm. I recently had one of my OST TL 40s die on the last shot of the night on an actress and when I pulled the mic it felt greasy. I asked about lotion and she said no. She wasn't sweaty but other than that I can't think of why this one went down. Thou…
Last reply by mikewest, -
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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, -
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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, -
- 29 replies
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hey gang. i have an upcoming feature that is spending a little over 2 weeks on the beach. i've actually never been on any shoots on the beach. considering the issue of the ocean roar and the salt air, does anyone have any good advice? any good tips and tricks or things to look out for? should i be worried about the salt air with any gear? shoot is fully insured, so if something goes in the water by accident, i'm covered. i will be laving actors whenever i can (mainly cos-11s), shotgun wise i have either a cs-3e or a neumann kmr 82 in my kit (i doubt my schoeps will make it out of the case). there are 3 male actors and one female actor that i'm guessing (depend…
Last reply by S Harber, -
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I have a few questions that I'm not quite clear about. I've never had to deal with timecode/jamming slates to cameras before so I honestly admit that this stuff is Greek to me. I currently have a Nomad and recently purchased a Denecke TS-C and ERX1TCD. My next shoot will be a multi-camera (RED MX, DSLR, etc.) and they will be shooting at multiple frame rates throughout the project. So, what would be the correct way of handling this? 1. Do I switch the frame rates on the Nomad/TS-C according to what is being shot on the camera at that moment or is there a general project frame rate that I should stick to? 2. If the camera is shooting at 60fps what do I …
Last reply by Marc Wielage, -
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Going paperless! What do you use and why do you like it versus the other one? Thanks
Last reply by Boomboom, -
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Hi, Recently worked with the f3, and the timecode would not sync to the 744t at 23.976, the camera recording framerate. (flashing tc on 744t display) Checked the camera settings, and the sdi output is set to 59.94. Switch that to 23.976, and it syncs no problem. (solid tc on 744t display) The interesting thing is I wasn't plugged into the sdi, but into the tc out. So the tc out is linked to the sdi out setting, not the internal recording setting. Also the Zacuto viewfinder the Dp uses cannot process that the 23.976 framerate of course, and loses signal. So, I jam, disconnect tc, and reset the camera tc out to 59.94. Back in Business. My question…
Last reply by BAB414, -
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Hello everyone I'm starting soon a documentary and i know i will be relaying heavily on radio mics for the main character. I just got told today he is got a BIG beard. I just wanted to hear tips and recommendations for dealing with this. I know a beard might not be a massive sound barrier, but i'm scared about noise of it against clothes. Should i go in the chest under beard or in the beard? Thanks in advance Diego Sanchez www.soundiego.co.uk
Last reply by JonG, -
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Hi all! I just stumbled upon this on the web as I was looking for an intermodulation program to use when checking my frequencies. Anybody know of any other intermodulation programs that be great too? Especially that can work from your phone. Anyway, here is the link: http://ff.audiotechnica.com/index2.html
Last reply by cinetj, -
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Hi guys! This is my first post here after a year or so as a "lurker" so bare with me. I tried finding a thread discussing this, but couldn't. Please correct and redirect me if there is one already. I am doing an interview in a couple of week, nothing special there, but as part of the interview there is also going to be a performance from a single violin player. I dont know if a stand with a stereo pair would be preferred or if I should get some clip on mic for a more discrete solution. I would love if some of you could share some knowledge and help me avoid some potential pitfalls if you have any experience with this sort of thing.
Last reply by The Immoral Mr Teas, -
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I was on a commercial shoot last week with an Alexa and the DIT on the job insisted that he strongly preferred record run TC on the Alexa saying it made it easier for him to check if any footage was missing after copying the cards. I let this go as there was no dialogue to record only atmos and fx and the camera ended up rolling at 100fps most of the time. Obviously producers should be consulted and post as well, but my inclination especially with the Alexa is to insist that audio and camera TC are jammed. I understand the DIT's reasoning but it seems that all other DIT's I have ever worked with dont lose footage and the camera runs TOD TC.. Anyone else come across t…
Last reply by pindrop, -
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Shooting a white water rafting trip on a show I'm working on. Production has decided they cannot risk the BIG cameras and a 788 bag to be in the raft with cast. They will be shooting on 2 Z7U LPS (Little pieces of shit) cameras. One in the boat and one in a follow boat. Producers however still want the 6 cast members mic'd. Heres what I gave them: Zaxcom ZFR100 recorders on each cast member waterproofed, jammed with TC from the 788 bag. Lockit box on Z7 cameras feeding Linear timecode on to channel 2, and Camera mic on channel 1. Speaking with the post Sup, He wants camera to non stop roll until a tape change, with clap syncs from the cast. (not to pra…
Last reply by cmgoodin, -
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Was just curious to know if anyone does playback on a film set with Pro Tools and what type of setup you're using for it. How do you handle timecode for the Sound Mixer? cheers
Last reply by David Silberberg, -
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I'll start by saying I have never done a DSLR project, and only have knowledge of assistant editors successfully using Sync n Link on some RED projects. But there were some behind-the-scenes guys hanging around on set the other day, and they had a DSLR. We chatted a bit about syncing, and they mentioned that sometimes PluralEyes gets confused in narrative work. The issue, I guess, is that with multiple takes of essentially the same performance, the waveform recognition software can have multiple matches. Anyone here experience this on their DSLR shoots? Robert
Last reply by Zack, -
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Hi guys, I'm doing a gig on May 8th in a theater here in SF. They're basically going to film the whole thing (pre-show) and my job is of course to record the sound. It's not a high profile type of event where the sound has to be really good, but of course I'd like it to be. My main concern is I only have a 302 hooked up to 702. That gives me 3 channels to play with. Setup 1: - CS3e in front of the stage (a bit farther back) to capture direct projection from the actors while not recording audience's whispers, etc. - NTG-3 on the side of the stage because one of the actors is going to be performing a monologue there. - AT4053b next to the CS3e to ca…
Last reply by deep owl, -
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Revived this thread- scroll down to bottom for new posts. Hi everybody, I've run into a weirdness with TC. I was helping a friend on music video project and it was decided that we do a live recording and treat the project as live concert. No playback to artists. I decided to feed TC a pro-tools system that was manned by one of the bands mixer. I am not a pro-tools person. Audio was fed to the 16th track of the pro-tools input. The TC source was an ambient slate. When the tracks were mixed and distilled down to stereo master the editor was delivered 3 mono wav files. L/R/TC. In avid the Audio TC to be ren…
Last reply by Bouke, -
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Those using DPA Slims, what are your go-to mounting methods? Both with and without using a DPA concealer?
Last reply by Mack, -
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, -
- 39 replies
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For those who have done a lot of Red shoots, what do you consider the best way to handle time code? I'm running a Deva II recorder with a Tascam HD-P2 as backup (or in case the client needs a CompactFlash card instead of a FAT16 DVD-RAM). I don't have tri-level sync or a lockit box, but the question is about handling time code when using only one camera. Comtek, G2, or Lectro INTO the Red camera sending time code from the Deva? Comtek, G2, or Lectro FROM the Red camera sending time code into the Deva? Jamming INTO the Red? Jamming FROM the Red? A side note: I find that the Tascam won't jam properly to the Deva if both the Deva and the Tascam are set to 23.…
Last reply by Philip Perkins, -
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Assuming no double-sound on this question, just single or multiple video camera shoot... With all of the various frame rates that video cameras can shoot at now, how does an ENG/EFP sound tech know what time code rate to set the camera to based on any given video frame rate? Do the cameras default set the code to the "proper" default rate relative to the video frame rate? Do I just run camera TC at 29.97 DF all the time, regardless of the video frame rate the shooter has selected? Examples : 30i, 30p, 60i, 60p, 24p. Does any edit system even care whether it sees DF of NDF anymore? In HD cameras, I presume there is no more NDF/DF issue. Or do I have this wro…
Last reply by Philip Perkins, -
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Hi all, I have landed a job mixing for a tv show and am a bit worried as they tell me there will be no or very little postproduction going into each episode (churning out 5 episodes a week so the editor will have a few days for turnaround) In my relatively limited experience there is always a fair bit of work that needs to be done on production audio, aside from eqing out hum etc. My question is to the seasoned mixers of jwsoundgroup is, in general on bigger Tv productions, how does sound post workflow go? My main concern is noise reduction, which i know is often treated with outboard/ hardware processors like cedar DNS 8 for live boradcast, but how d…
Last reply by johnpaul215, -
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The little ring underneath ensures that the mole skin sticks to the bottom of the lav preventing it from slipping out of the rm-11. The RM-11 plastic has 2 pieces of mole skin the same size as TopStick and a topstick piece on the bottom. If you like rm-11 give this a try. It works great...
Last reply by Reuben Colazo, -
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Soon to be working on a project with a RED ONE. Client wants single system audio-to-camera and says they have the latest build w/4 audio tracks @ 48k/24bit and the XLR to TA3 adaptors. What should I be aware of in terms of gain structure and other issues. How about a return, I see a TA-3 out and HP jack. Do these carry all 4 tracks? Can I assume the TA3 is line level? Can I plug a Comtek transmitter into any of these, if so what value pad or special cable would I need? I'll be using an SD mixer and occationally a Mackie Onyx. Thanks, Rick PS- I am also aware of the RED's internal cooling fan system.
Last reply by Dennis Kersten,
