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The Post Place
the section for everything relating to Post-Production
344 topics in this forum
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- 1 follower
- 4 replies
- 262 views
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 The Immoral Mr Teas, -
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, -
- 1 reply
- 870 views
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, -
- 1 follower
- 5 replies
- 315 views
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 osa, -
- 3 replies
- 439 views
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, -
- 1 follower
- 8 replies
- 802 views
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, -
- 1 follower
- 8 replies
- 580 views
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, -
- 1 follower
- 8 replies
- 519 views
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, -
- 4 replies
- 372 views
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, -
- 1 follower
- 1 reply
- 242 views
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, -
- 1 follower
- 4 replies
- 704 views
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, -
- 2 replies
- 330 views
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, -
- 2 replies
- 3.9k views
Hello, I need to export a Pro Res quicktime with 5.1 and 2.0 mixes from Premiere. More precisely 8 channels of audio, the first 6 being the 5.1 mix, and the last 2 being the LT/RT. Premiere has a few different options to do this and I'm trying to figure out which is correct: Option 1 - settings In the image above, one can select either "mono" or "discrete" for the channel layout, which one should I select? A quick export with both settings and a get info on each quicktime file shows the following Mono Selected Discrete selected Option 2 - set…
Last reply by Brian William, -
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- 1 follower
- 2 replies
- 390 views
So I’m being requested from dailies to work in pull up 48.048 / 24fps since the DP wants to shoot @ true 24fps to reduce the possibility of flicker with lighting set ups. We are not shooting on film and footage will be pulled down 1% along with sound to be edited and broadcasted at 23.98. The dailies company said this is somehow common with Canadian DP’s who feel this is a solution to mitigate flicker issues. So, The dailies company wants to modify my sound rolls and sample rate convert my Cantar X3 files back down with SD’s Wave agent before hitting editorial to get it all back down to 23.976 and assures me it will be seamless and not affect sound. What’s odd to me is …
Last reply by MMS Inc, -
- 1 follower
- 7 replies
- 595 views
I am working on a radio play and per clients request i made videos that are audio only with timecode window burns of all the production sound we recorded. I used davinci resolve and able to get thru it enough to be dangerous, and these were all large takes so not to terrible to do for this project ( a few large takes vs a bunch of short takes), but i was curious if there was another way to approach this to make video window burns of audio only? -Ken
Last reply by Bouke, -
- 4 followers
- 12 replies
- 1.4k views
Hey Guys, I feel like I might be missing something key in my workflow here, so just wondering if anyone could help signpost me in the right direction... How do I ensure the mixed audio masters I create, are 100% synced when the video team import it back into their video software? Do you guys add a tone or something at the start? Apologies if this is a silly question, I'd like everything to be synced exactly for them. Thanks
Last reply by chrisbakeruk, -
- 4 replies
- 720 views
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 Fritz, -
- 0 replies
- 371 views
Does anyone have a mix conform to the Netflix loudness specs? (With the corresponding DIA stem.) Working on my 'Loudness change' app now, trying to implement a more open source speech gating than the free but not open source Dolby routine. But I don't have the means to test my work, so I'm looking for a test set with the measured values, to compare it with my work. (It won't be exactly the same, but I think I can get it within 0.5 LU, while Netflix allows for 2 LU difference.) Thx, Bouke
Last reply by Bouke, -
- 2 followers
- 9 replies
- 2.9k views
M1 mac users who work with video should not update to Protools 2021.6. It will make the video completely unusable, so it's better to continue using 2021.3. I hope Avid will release a version that is fully compatible with M1 soon.
Last reply by Jim Feeley, -
- 2 replies
- 811 views
I know this is probably old hat to most of you guys around here, but I got my first on screen credit as a sound designer. The film gets a Blu-ray release on Tuesday. I have a few acting credits and soundtrack credits from back in the day. But I have never received a technical credit. I am chuffed.
Last reply by ALVIN, -
- 8 replies
- 1k views
Hello everyone, I have a very short audio clip from my wedding that sounds like garbage. It was recorded back in 2005 on a non HD camera with who knows what kind of mic. I'm putting a video together for my wife's bday tomorrow and was hoping someone can help me fix the audio. The audio is from the onboard mic that the video guy recorded. It's at my reception so the DJ's announcement was too loud for his cheapo mic to handle, so the audio clips. Is this something that can be salvaged? The audio clip is 20 seconds long. Any help is appreciated.
Last reply by Michael Miramontes, -
- 3 replies
- 1.5k views
I there any good options for cloud-based mixing/audio post like what Frame.io is for video post production? I have some collaborative projects and it would be good to be able to work with other mixers online.
Last reply by chinpou, -
- 0 replies
- 662 views
Hey all, I'd like to have a custom, non-natural, SciFi'esque type of sound to be created for use on an upcoming student film I'm helping shoot/produce. Think the "sound" from The Vast of Night, as an example. I've never done anything like this before so I'm sort of lost as to what I should be specifically looking for with regards to the Sound Designer and what I should expect to pay. Could anyone offer any insights on a Sound Designer they'd recommend and how much I should expect to budget for this service (a ballpark figure would do for now). TIA for any time, help, advice! Cheers
Last reply by Ryan Williams, -
- 1 follower
- 0 replies
- 422 views
I have been battling touch faders on a control surface showing erratic behavior, dropping in and out during recording automation, fighting me during movements etc. I had been dealing with this off and on for months. Finally got around last couple days to hardcore troubleshoot. Got online with tech support, resinstalled supporting software, hardware tests, network troubleshooting...until late last night when i thought all hope was lost and ready to send these in for repair, i finally discovered the problem: I have had this since the 80's via my grandma as a gift. I have always ke…
Last reply by osa, -
- 5 replies
- 5.9k views
I have just upgraded to the latest version of Pro Tools and I am unable to get video to play in Pro Tools. I have tried bringing in MXF, DNxHD, and MP4 (h.264) files and none will play back in Pro Tools. The videos will play normally in Quicktime, VLC etc. With the video in the edit window I can see the video keyframes in the video track and the extracted audio plays but the video window is black. Session is set to same timecode framerate as imported video which is 25 fps. I have tried disabling and reenabling the video engine, deleting and reinstalling Pro Tools to no avail. It is the latest version Pro Tools 2020.3 and my computer is a Macbook Pro 2015 i5 processor runn…
Last reply by DBK,
