The Post Place
the section for everything relating to Post-Production
355 topics in this forum
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Acon Digital is having an end-of-the-year sale: https://acondigital.com/store Here's the link to their Acoustica products: https://acondigital.com/products/acoustica Lots of chatter about these elsewere, but I'd like to know: If you have used Acon's software, what did you think of the tools? thx
Last reply by Jim Feeley, -
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- 6 replies
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I have an editor friend whom i do production sound recording for on projects as well as audio post with pro tools. in a perfect world i get pic lock and audio post as one normally would. Lately he is getting projects where he wants to present to client as "this is what it could look/sound like" and we are struggling finding a modern workflow to make both audio and video changes along the way as client makes decisions. I used to have great success with EdiLoad to track changes but the different worlds of video edit and audio post seem to always work against me. Is a possible solution for this - I subscribed to adobe to get Premier or Audition and work with picture edit in …
Last reply by jozzafunk, -
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I'm curious to hear from anyone with experience with this. Last time I worked (1.6 years ago) there were no AI plugins. Let's imagine a ratio between the best of what was painstakingly done by humans before the strikes, and these same humans now, with AI help. Obvs the AI will save human hours, but can it also do things better than a human, in minutes? Can AI help to make crap sound become good sound? If anyone has experience, I'm curious if the AI is more or less effective with different noises. Things like: Genny rumble Riverboat engines Air handling Machine noise People noise (talking off-mic, laughter bursts, etc.) …
Last reply by Patrick Tresch, -
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Howdy everyone, Soooo, I'm still working on that WWII movie and am pretty close to completing. however, I just hit a scene with some extreme closeups and I can hear the camera's motor/film sound pretty well. I seem to remember back in film school they used a blimp/barney to dampen the sound but I'm pretty sure they didn't use one on the shoot. I've created (more like hacked together) some Room Tone so I can cut in and out between dialog bits, but it feels clunky. Then I got thinking about it more and was wondering what the big post guys do when they want to remove the camera's mechanical sound? Short of ADR which I suspect the director would probably no…
Last reply by minister, -
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Do people use any cloud services these days for clip gain / levelling ? and other repetitive stuff For some podcasts I've been using Auphonic over sending the clips to iZotope or Pro Tools local route I imagine a lot of these desktop apps are going to disappear and everything's gonna be a subscription 😬
Last reply by minister, -
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I'm having issues syncing audio and video in Premiere Pro that was jammed with a Deity Timecode box. On set everything seemed fine. The recorder was a Mixpre 6ii and camera was Alexa Mini LF. Any advice would be great beyond the Deity tutorial information!
Last reply by Bouke, -
Hey all, Just finishing up a project working with presumably 1/4" / reel archival Ram Dass recordings. The recordings are from over the years (but all very old), so: different tape machines, microphones, environments and subsequent reflections, and varying degree of ambient crowd noise. Overall I've gotten great results except for one in which the tape speed was unacceptably sped-up and therefore high-pitched. Using pitch and time correction of 92% I have RD back in his register, but with the slowdown, now he sounds gravely (or as the client keeps saying--robotic). I have done everything I know possible with EQ & comp / limt. etc, as well as trying ev…
Last reply by Daniellow, -
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It's 2024 and I can't revive any of our old DA-88 machines that sat in storage since 2000. Our engineering department no longer works on tape machines so I'm out of luck there. I have some tapes that need digitizing but I can't decide where to send them for digitizing. Any recommendations? Thanks.
Last reply by Werner Althaus, -
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Hey all😄, I am working on an indie film project as the Sound Editor and re-recording mixer. It's a dramedy with all original music including some punk, choir, and classical music. This is my first time mixing in surround. I've spoken to the composer about receiving a Pro Tools session of mixed stems when I was originally mixing in stereo but the added surround element is confusing me. I was wondering about the deliverables I should ask from the composer so that I have leg room to adjust the panning of instruments and reverb panning of their mix. Should I ask the composer to only use 5.1 plugins? Should I ask them to pre-mix the choir or classical music as they …
Last reply by Philip Perkins, -
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Does anyone use a thumb trackball mouse doing audio post that you might recommend that works with Monterey and above? I recently upgraded and seem to have lost my precision movements on the track ball with the Kensington version that I have. I have a feeling they’re software for Apple might be finicky on this operating system
Last reply by codyman, -
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Curious if someone might help me understand the pro's n con's of OMF vs AAF imports in pro tools. I have been using OMF for ever out of habit. Always encapsulated to keep things organized, and it would work perfect for my purposes except for a few occasions where the material is larger size and I would request separated - but this made things slightly difficult where I would have to manually connect the data which was a bit time consuming but worked in the end. Recently an editor I have been working with was sending me AAF's. Worked extremely well although contained a video track that would give me problems but I would just skip it on import and bring in video manually wh…
Last reply by Philip Perkins, -
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It seems current versions of PT '21 work under Rosetta 2. But I can't find any info with regard to Izotope under Rosetta 2 on an M1 mini other than "not compatible with M1..." Is anyone using this combo?
Last reply by D Clay Audio, -
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Hi y'all! So I left the movies for radio, but still I keep using wireless mics and recording stuff outside, as if it were a movie shoot (but without the cameras). And in post, I still use the same tricks. However, I stumbled upon this little plugin called Goyo, which is a noise and reverb reducing plugin using AI in some sense. GOYO Voice Separator | De-noise, De-Reverb, De-Voice - All in One Plugin Quick review: It does what it says. I hear artifacts if I crank it hard enough. It's great to be able to just turn the BG down a tad, and then I can hardly hear the artifacts. Especially not if I'm imagining sitting in a car or listening in headphones on the subw…
Last reply by osa, -
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This seems like an old problem because I found discussions about it on DUC but I was unable to find an actual solution, curious if I’m missing it somewhere. Files I record on my Zaxcom nova, I bring into ProTools and spot to original Timestamp. Make a few modifications and export. When I bring the original file and pro tools exported file into wave agent, The timecode is offset by a small amount between original vs newer pro tools export in a few seconds/frames. Is there a newer solution possibly to exporting accurately time stamped files in pro tools that i may have missed somewhere?
Last reply by osa, -
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Hi, More and more colleagues sound recordists are using LCR stereo setup nowadays for wide ambient wild recordings, and many post-prod sound editor and re-mixer say that without the C they feel an "hole" in the middle. Being an ORTF setup (LR) long time fanatic I often argue that it depends how you choose to record the space you want to hear. I have tried it several times but always ended up listening to LR only as -mixed in a LR hearphone- wide spaces sound mushier. I found the C useful for proximity stereo recordings but for wide ambient I do not see the point. I know it is still an ongoing debate. What are your opinion on it, location sound or post-prod …
Last reply by Rick Reineke, -
Hey guys, I'm exporting an XML from Resolve 17 in order to work on it in Audition 2022. Wondering if I'm doing the right workflow or there is a solution to this. Our editor synced the camera to the audio files via timecode in Resolve. So when he drags and drops the camera footage, the audio comes with it. But the audio in the time also gains the same name as the camera footage. So the audio file "Interview_A_01" is now named "A001C014" etc. So Audition is just reading audio track A001C014 which doesn't exist and shows up as a blank wave form. This is done for every single clip on an already edited 5 minute video. What are my options to remedy this…
Last reply by Thomas Farmer, -
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Hello All, I am attempting to encode a 5.1 source track into a 5.1 AC3 surround matrix using Neyrinck's Dolby Digital 2 plugin in Protools. I am creating a blu-ray for festival submissions. I seem to have everything in the right place (I've tested it in Dolby Digital 2's preview and all the correct channels are playing back in the assigned channel). However, when I take it over to my home theater system which is 7.1, I've noticed that the surround channels (Ls/Rs) are playing out of the mid-room surrounds and NOT the back speakers as would just a 5.1 configuration. When I play a consumer surround disk, they seem to play back properly, just…
Last reply by Daniellow, -
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I have a director friend looking for a place in the states that does foreign language dubbing of movies, particularly french in this case. I thought someone here might know of a place or two. Thank you, Tom Backus CAS
Last reply by dr.sound, -
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Hi, I'm looking for a laptop with Windows for DAW (Nuendo). Min. 16gbRAM(better 32), 1T storage and 15"-16" display. If I look at the CPU parameters, the 12700H seems good to me. But essential for working with sound are quiet fans. Can you please advise me of a suitable and above all quiet laptop? Do you have experience with Dell 7620 16 plus - Inspiron? Thank,you
Last reply by mano, -
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Hey Guys, I'm increasingly being asked by one of my clients for delivering a 2.1 stereo mix, but also with separate stems for dialogue and music/effects... How normal is this? And anyone know why they might want it? For me I find it a right pain tbh! Any thoughts? Thanks
Last reply by chrisbakeruk, -
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I will post this in a more appropriate forum but was curious if someone here might have come across this. Been working with OMF's and pro tools quite a long time but first time running into this error shown below. same client I have worked with before never any issues. I have them sending me an OMF separated vs encapsulated because it is over a 2gb OMF and I read somewhere the size larger than 2gb encapsulated might trigger this error? But other posts on this topic didnt seam to generate solutions, other than size. I went thru all my recent omf's and all show up in pro tools as Version type 2.0. I have at least 1x OMF that is 2.16gb and it opened fine opening as file type…
Last reply by osa, -
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I recorded multiple lavs to separate tracks in my zoom f6 and mixed them for broadcast in my DAW to a (dual)mono track. When I perform a quality check for my video I get some alerts: "Phase difference between Left Channel and Right Channel found beginning at 00:00:00:00 for 84.00 seconds with max phase difference value lying between 10 DEGREE to 20" The phase difference is always less then 20 degrees in those alerts. Is this an issue and do I have to adress it? When mixing on location to a single track phasing can occur as well and cannot be corrected in post, so I guess it should be find. Does it?
Last reply by The Documentary Sound Guy, -
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Hi, being on the budget and looking for a portable device I'm willing to buy a zoom h3-vr, it have the feature to create a file ready for 5.1 post production. I'm not interested in VR at the moment. All I need from the recorder is to take advantage of portability (store in my pocket even if maybe a bit bulky for my needs) to create a surround database of soundscapes to use for theatre short movies, documentaries. I often have been in places where I wanted to record by I couldn't take with me the full equipment. do you think it's a good idea? Did you ever tested those files you can tell me more about usability for theatres? this is a quick official video ta…
Last reply by Dan Wake, -
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- 4 replies
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This concept of upmixing is still something i am trying to completely wrap my head around, but all of sites i am reading and seeing demos of halo upmix etc seem to be referring to upmixing stereo music mixes. Do the same principles apply to stereo ambience field recordings when it comes to upmixing stereo material into multichannel projects?
Last reply by TVPostSound, -
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For those that use them, how are you guys sourcing your multichannel ambiences, atmospheres and room tones? Do you build them from stereo recordings or do you use original multichannel recordings that match the target format?
Last reply by TVPostSound,
