The Post Place
the section for everything relating to Post-Production
358 topics in this forum
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- 4 replies
- 1.5k 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
- 3k 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
- 8k 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
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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, -
- 10 replies
- 4.9k 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
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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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- 1.1k views
http://www.mpse.org/goldenreels/2012awards/nominees.html
Last reply by Bondelev, -
- 1 follower
- 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,