The Post Place
the section for everything relating to Post-Production
341 topics in this forum
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- 0 replies
- 2.2k views
Maggot Spanner Software Spanner is a powerful surround channel manager, panner, remapper and folddown plugin for AVID Pro Tools. It is the result of years of personal frustration with the Pro Tools panner and bussing setup and solves many of the common complaints about the surround workflow in Pro Tools. If you ever work in surround you'll appreciate this plugin I'm sure, but if mixing-in-the-box is your thing you're going to see this as a major step forward. True surround panner Functions as an upgrade to the standard surround panner, giving complete, independent control over each channel in a more practical single plugin interface. each input channel i…
Last reply by VASI, -
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Hello to all. I have six audio tracks ready mixing from Pro Tools. L, R, C, Ls, Rs, LFE. What programm use for encoding this files and create one file to put in DVD Architect 5.0? Thank you very much. Vasileios
Last reply by Rick Reineke, -
- 14 replies
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[if you think that I should post this in a different section, please let me know] This question is more for people who are on-set only type folk... How often do you find that production comes to you asking either for you personally to do the sound design and mix or for a recommendation from you for good people to go to? If you are working on a union gig, does that mean that the post has to be union as well? I do post audio at an independent sound house in NYC, and am trying to elevate the quality of movies that I am working on. I know that many of the folks on this forum are working on very interesting/quality content, but I had always assumed that the…
Last reply by GrahamTimmer, -
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I am currently cautiously looking at increasing my post capabilities and the thought occurred to me to bone up my DAW controller. I currently use an Alesis MasterControl at home. For the price, it is quite nice and feels like a solid piece of kit. Generally, for ADR and mixing, we'll either be at the main studio or on set. At the studio, we have an SSL4000E/G, a great console, but of course not a control surface. What I find that I do, if I need to do any type of moderate or major editing, I do that all at home, and then bring in the client for a final attended mix at the studio at which point I'm just mixing stems together for the final client approved print. We're…
Last reply by Tom Visser, -
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I'm trying to flesh out my ensemble of post mixing software(s) to create as professional a final mix as possible. The list I use so far is okay but there is something obviously missing. Do you guys have other suggestions that you know are used by the big post studios to create smooth beautiful mixes? I'm pretty good at dialog editing, music arranging and fx editing but the re-recording for final mix has always been problematic. Here's what I have been using: Altiverb Protools Video Production Toolkit Bias' Repli-Q (and the Master collection's EQs) Sound Soap Pro 2.x
Last reply by jgbsound, -
- 1 follower
- 25 replies
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HELP!!!! I am in a middle of a film editting and I have an acsses violation. It's a 110 min film I'm in the 50 min now. If anyone has a good advise to help me out of this crisis. Thanks.
Last reply by Alfred Tesler, -
- 58 replies
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I hear a lot of people complaining about having to wait for a bounce, here is a tip. Instead of real time bouncing, record your master to an audio track. If you make a change, you can just destructive record the change, then you don't have to bounce again. When you are done, just export the audio file on the track with the settings you want. I have been doing this for several years with no complaints.
Last reply by Marc Wielage, -
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Any one has encountered the problem that when upgrading the software the computer is stuck when connecting the 002? I nave a pc station.
Last reply by Marc Wielage, -
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Since all of my work consists of being in the field I have not delved into post sound. I was looking into sound editing programs where I can cut sound files while still retaining the original TC from the source file. Ex. I have audio files from a Zaxcom TRX900 with TC stamps and would like to edit those files while still keeping the original TC before I deliver them to my clients. The only program I heard of is Pro Tools that I believe can achieve this but is there others? Thanks in advance. Gabe
Last reply by Noah Timan, -
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Has anyone here had to deliver for Nat Geo? I just had a show sent back even though we delivered to their specs. Their reason was "low audio levels," which I have never seen as a complaint in 20 years of mixing for television. Usually it's the other way around!
Last reply by Marc Wielage, -
- 14 replies
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Story is that me and my company shot a short on RED in 23,98 mode. Based on that it will be easier to convert to NTSC and it's compatible with PAL as well. Now we're sending the film to a festival in Sweden that only accepts HDCAM and not HDCAM SR which would be preferable. And HDCAM doesn't take 23,98. So we decided to speed up to 25 fps. Enter: Problems I used the waves plugin to pull the audio up with a ratio of 1.0416, which syncs up perfectly in Pro Tools. So far so good. Now we imported the video and audio into FCP. No sync. Wtf? Okay so it turned out the audio had a TC metadata stamp which was empty. In a 25 fps project, wi…
Last reply by Olle Sjostrom, -
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Just in case someone needs it, automatic ducks is now free. The guys now work for Adobe. The software allows you to transfer OMF files into Final Cut Pro. On the post side of my career documentaries are what head my way and being able to move OMF files in and out of FCP is very useful! Happy Downloading http://www.automaticduck.com/products/download/
Last reply by Toy Robot, -
- 1 follower
- 10 replies
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Although I am not a fan of more categorization or more sections, I have sort of warmed up to the idea of having an area that is tailored for post-production. I AM a big fan of production people and post people working to minimize the fragmentation and mis-information that comes from keeping these two disciplines apart. Open communication is vital, not only for important pre-production specifications coming from post-supervisors (often the ONLY communication lots of Production Sound people ever have!), but more importantly for the intrinsic value of a complete understanding of the whole process. The hope is that this new section will encourage MORE communication rather tha…
Last reply by Bondelev, -
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I have to wire 4 of them this week. Could use some ideas/tips. The way the board used to be had every single i/o wired to a patch panel. I thought that was way overkill. I have wired these before, but not quite to that extent. What are the most important things to wire to the bays? What are the most often scenarios you guys use them for? Most of my work is digital, with very little outboard gear. I love getting into old analog stuff.
Last reply by studiomprd, -
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- 924 views
http://www.mpse.org/goldenreels/2012awards/nominees.html
Last reply by Bondelev, -
- 2 followers
- 11 replies
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Here's the issue: I recently worked on a show with another sound guy. We each had a couple of people wired, we each sent sound to camera wirelessly via Zaxcom. Multiple times a day I checked my levels. Sent tone, -20, mixed on my 552 between -4 and +4. Now it's come to my attention my audio is extremely low. They're cutting on FCP. His audio is fine, mine is not. The camera's were XD cams. I also recorded a backup on my 552. I've brought the files into ProTools, and the level's are consistently in the green - very rarely reaching pre-clipping in the yellow. He did not record a backup, and used a different mixer (which one escapes me now). The edit…
Last reply by Peter Mega,
