The Post Place
the section for everything relating to Post-Production
350 topics in this forum
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Stereo Mix 1 2
by Den Nic- 1 follower
- 40 replies
- 5.9k views
Hey Guys, Just wondering, for those who are doing a stereo mix of booms/wireless and recording those two tracks, how often are those the tracks that post goes to? Do they use the stereo mix for the most part unless they need something specific? Or is the stereo mix just a guide for post production (And for IFBs) these days? Thanks!
Last reply by VASI, -
- 5 replies
- 2k views
Hey guys, Just wondering how different people charge for Post Production services? (And Also so Musical Composing services) (At home people, projects studios, studios, etc.) Anybody do a black$/min fee? A general estimated based on the amount of time you estimate it will take? Hourly work? Think it is better to separate the music and audio component on the invoice? Any input would be appreciated Thanks Guys
Last reply by Marc Wielage, -
- 1 follower
- 5 replies
- 4.6k views
Hello everyone, I'm doing a tv series with this workflow: recording iso tracks with Nomad; sending a mono scratch track to each camera; jamming timecode from Nomad to each camera, Free Run, TOD. At first, the mono scratch tracks weren't part of the plan, but post asked me if this was possible since they preferred to edit the offline version of the show without having to sync the iso tracks from my Nomad. They said that they could sync the scratch track wit the Nomad's iso tracks very easily using timecode afterwards. I thought that they would use somekind of conform plug in on a Final Cut like Pyramix's re-conform tool but the head at post told me that they plan…
Last reply by cinetj, -
- 1 follower
- 12 replies
- 5.1k views
I can't help but scratch my head on this one... I'm occassionally doing post for Indie/student shorts which go on DVD (no theatrical), and upon reading up a bit I hopefully understand correct now that the Dial track should be around -27db Leq (A), and if then I set Dialnorm to -27dB FS when encoding AC3, all should be (almost) good? A few months ago I calibrated my monitors and now I'm doing post on another short, where I occasionally switch from 76dB (editing) to 83dB (mixing), which I figured should bring me in the ballpark without slavishly watching each meter movement... but please correct me if I'm wrong. Now, when doing stuff for small TV stations, which s…
Last reply by TheBlimp, -
- 16 replies
- 2.5k views
I'm curious as to how much of our location extras (wild tracks, AMBs etc.) actually get used. When I'm working post we usually get the OMFs and spot/edit accordingly. It's not always easy to get the production sound files and even if I did, I wouldn't know what is what without also getting a copy of a production sound report (which I never have). I'm sure it's different on big budget projects, but it seems very rare to see a full AMB track in an OMF, and only a few added FX stuff that often doesn't sound like it's from location. This is just based from my very-ultra low budget experience, I'm just wondering if more professional projects incorporate more production…
Last reply by deanmc, -
- 5 replies
- 1.5k views
Well we usually work on different audio tools to mix our film, but all of them got something in comment..... The nice picture of the audio form, I guess we can learn allot from each other about the photo of our final mix, like u can see the db range, the pick limit, SNR, amb levels, and on and on. Well I know this topick is not so pro cience reference but we all use this nice audio wave pic to understand what's going on sometimes. Now let's see If I will manege to upload may latest final mix pic. Thanks all...
Last reply by Alfred Tesler, -
- 2 replies
- 1.4k views
Im looking to purchase a used sound device 552 mixer. I'm trying to upgrade my current recording equipment and be more professional.
Last reply by Tom Maloney, -
- 18 replies
- 4.1k views
Hi everyone, I was approached with a dialogue editing gig, but they are strictly Adobe CS workflow. As a Pro Tools guy, would I run into any learning curves while using Audition? Just in case, could it still accept omf outputs from Final Cut? Thanks Matt
Last reply by Philip Perkins, -
- 11 replies
- 1.5k views
I need to vent a tad... I worked on a pilot pitch last December, and yesterday, the director sent me a link to the final product. As I watched the 30-minute episode, I despaired at how awful it sounded: every single off-camera line was off-mic; not one line taken during the close-up coverage was edited in. There was also electrical hum from ballasts and lights that I couldn't get turned off during the shoot, and added backgrounds were often drowning out lines. The edit sounded like an indie picture lock or short does BEFORE the sound edit. I kept thinking what a shame it was that the director, who spent 50k of his own money, and who has one small feature with …
Last reply by Marc Wielage, -
- 0 replies
- 2.3k 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, -
- 10 replies
- 3.5k views
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
- 2.9k views
[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, -
- 21 replies
- 6k views
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, -
- 1 follower
- 19 replies
- 3.8k views
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
- 3.2k views
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
- 6.5k views
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, -
- 13 replies
- 3.6k views
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, -
- 4 replies
- 1.4k views
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, -
- 17 replies
- 2.7k views
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
- 7.3k views
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, -
- 1 reply
- 1.6k views
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, -
- 10 replies
- 4.7k views
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, -
- 15 replies
- 2.4k views
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, -
- 0 replies
- 1k views
http://www.mpse.org/goldenreels/2012awards/nominees.html
Last reply by Bondelev, -
- 2 followers
- 11 replies
- 2.5k views
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,
