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The Post Place
the section for everything relating to Post-Production
341 topics in this forum
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- 1 follower
- 6 replies
- 1.7k views
Is first order Ambisonic* ambient recording safe for 5.1 mix in film theaters? Will brings problems as phase cancellation? Thanks, Dan *mic models as for examples: Sennheiser AMBEO VR, Rode nt-sf1
Last reply by Werner Althaus, -
- 4 replies
- 1.8k views
If this works as advertised, it looks like it could be a great tool. https://www.izotope.com/en/learn/introducing-dialogue-match.html?utm_medium=Email&utm_source=ACS&utm_campaign=2019+iZo+Newsletter&utm_content=All&utm_term=Nov+9 And hopefully will not become an excuse to foregoing getting good sound on set...
Last reply by Jason Nightall, -
- 4 replies
- 787 views
Hi all, For those who need to deliver conform specs: I've been working my butt off to get things easier: My loudnessChange can now measure mono, stereo, 5.1 and 7.1 And it can correct if the loudness is wrong. But wait, there is more! It accepts inputs mono or poly, and you can output mono or poly (thus, interleave / de-interleave). For non-interleaved output, you can decide the new track names, and auto place them in a subfolder if desired. It can also remap if you go from L C R xxxx to L R C xxxx or alike, no matter the interleave in/ output. Then, if you have stems, it can auto correct the stems based on the printmaster. (that's not all, bu…
Last reply by Philip Perkins, -
- 2 followers
- 6 replies
- 773 views
Hi guys Thanks for all the gold found on this site over the years! Ive tried searching but without finding any results. Im looking for an answer for this simple question. As im getting .AAF from picture editor how can i also get some kind of notice of video changes within the reference file? Is it possible to export from premiere markers that indicate every video change or ive heard about having an silence audio track exported within the .AAF that contains every video change but as new audio clip on the audio track. I might just be missing something but usually i just get .AAF and a reference file and not a clue on when the actually video change …
Last reply by TVPostSound, -
- 1 follower
- 2 replies
- 753 views
Is there a shortcut in pt that exists? I found a clever apple script that a post guy made but unfortunately it gets hung up. I was considering building my own in automator. Basically I want to bring in a ton of production sound files spotted to orignal time stamps when i usually do this manually one by one
Last reply by osa, -
- 0 replies
- 644 views
Hope this doen't get flagged but it's pretty specific to this section. Y'all may not spend too much time in the For Sale part. My friend, the retiring Post mixer, just brought over his entire SFX library on CDs. Probably close to 300 disks. Mostly Sound Ideas stuff, some BBC some others. Comes with all the catalogs. Cricket chirps? Got it. Saturn rocket take off? Got it. Even two Denon DN-1200F 200-disk changers and the remote control. Did I say HUGE? And heavy. The Denons weigh probs 40 pounds each. If anyone here wants to discuss this, PM me.
Last reply by tourtelot, -
- 1 follower
- 6 replies
- 4.6k views
I threw this together to accompany my Producing Great Sound book. It uses convolution modeling to create random room tone. Load a clean, breath- and noise-free sample from the production track (15 frames or so). The sample isn't repeated, just used as a model for timbre. So the output doesn't sound looped. I've used this (or a similar process) on a bunch of projects over the past year or two. Sounds fine, even in a theatrical mix. Free, open source VST or AU plug-in. Runs in Macs only, and requires you load the free open-source SonicBirth first. Full instructions with the download. More info and download links at GreatSound.info/roomtone Comments an…
Last reply by logangcain, -
Waves Central
by osa- 1 follower
- 7 replies
- 867 views
Hello Post Folks, I recently bought some waves plugins and it had been a while. I was bummed to find out after purchase they dropped ilok. curious to know if anyone here might help me understand waves central in that i see a way that you might be able to put "assets" on a thumb drive and basically make a 2nd ilok to swap between computers? i already moved a plugin once from one computer to another and i didnt realize this might have been a mistake as it says i cant move it again for a year, if i understand correctly? I cant make sense of how this works for some reason. they have their own language about license asset management that is confusing me -Ken
Last reply by osa, -
- 3 replies
- 689 views
This is going back in time a little. My friend has 4 DAT tapes that were recorded on a Fostex PD4 at 48kHz, 30 fps non drop. He wants them transferred to a digital computer file that he can edit. On the Audio side, I was planning on using my Fostex Pd4 to transfer from it's AES/EBU digital output via a 110 ohm xlr into my Sound Devices 664's digital input. The 664 would be set to 48kHz/ 24 bit. I would send the Fostex's playback time code into the time code input of the 664. My question is, will this work without me doing anything to alter the playback speed for the file to work when he sinks sound to picture in the computer. His super 16 film was transferred …
Last reply by FILMMIX, -
- 0 replies
- 407 views
This is going back in time so any help will be appreciated. A friend of mine asked me to transfer some dat tapes into non linear digital form so he can edit on a computer. The original dat tapes were recorded on a Fostex pd4 at 48Khz 30 non drop. I am planning on using my old Pd4 and going digital out (110 ohm xlr) to digital in on a sound devices 664. I will send the timecode out from the Fostex to time code in on the 664. My question is do I just transfer from one deck to the other at 48kHz and leave the file to be adjusted on the post production computer? Or should I do something else during the transfer. The picture was shot on super 16 and the negative was transfer…
Last reply by Steve Rogers, -
- 5 replies
- 1.3k views
I've got two different soundbites from a short doc interview. I have attached them to this post. The programs I am using are Adobe Audition for the main edit and then I'll often pull individual pieces into Izotope RX 7. For the first one (TEVIN_366_Fire_Extracted), near the end of the soundbite, he says "...to just go and change my life and that's what I did." As he says "and that's what I did", there is an intense Rustle from the clothing on the lav mic that overwhelms what he's saying. Not sure if this is too far gone or salvageable at all. Then the 2nd one, (TEVIN_366_Nothing_Extracted), when he says "This is nothing.." there is an audible CLI…
Last reply by berniebeaudry, -
- 3 replies
- 1.7k views
I'm hoping someone can answer this question for me? I have an AVID S3 with the Pro Tools Dock/ipad combo for my studio setup at home. Usually, after creating a layout in EuControl, I can then just pressed the lefthand buttons on the S3 to call up my layouts. However, for some reason, now when i press the Layout number, the iPad Control App switches to the proper layout but the S3 does not change the Faders themselves (it's stuck on my DX only tracks. Is there a setting I accidentally set in EuControl Preferences that could have changed this? Scrtching my head.
Last reply by jgbsound, -
- 1 follower
- 1 reply
- 1.5k views
i am wondering if a sync solution exists currently with protools (non-HD version, without option for field recorder sync). a few times a year i post for a client project that i recorded tracks during production. the editor usually starts with my files and gives me an omf export from avid, so my audio files with heads and tails are in his export. this time around a different editor finished the project in premier, and used cam audio. i talked him through an omf export which worked well but i really wanted to use my production sound for this project. I had to manually sync clips. it was a rather short project with a tight turn but in the future i really want to have a bette…
Last reply by franky03, -
- 1 follower
- 11 replies
- 1.4k views
Hello, Did a scene today with a practical SM58. Didn't amplify it to the room through the speaker until take 3. My question is, how easy is it to fake the speaker sound in post and make it sound realistic? We also had a boom in the room far from the practical, picking up the distant perspective and then the speaker sound once it was powered on. Second question is, how easy is it to make it match the aesthetic we got once we started using the speaker? To make takes 1-2 match the rest. Thanks, Ben
Last reply by BAB414, -
- 5 replies
- 2.7k views
Hello, I am currently doing production sound for a indie feature set in the fifties in an African city. Obviously we struggling to avoid plane, (chinese) motorbikes, modern cars, AC fans, water pumps, amplified call for prayer, to mention only the quotidian ones... I do not think I will get a chance to record enough stereo ambient sound as I usually do because of these issues. I have a fairly number of years of experience in film but this is my first non contemporary era film. So my question is can we rely on post only to re-create ambient sounds, assembling isolated sounds, to get credible soundscapes for the diverse scenes set in town? What a…
Last reply by Mike Westgate, -
- 8 replies
- 1.6k views
Hello soundgroup members, For the people with little to no time here's the Question in short: (longer version is below) I want to create a similar sound to the one that the locket makes in this video (below) every time it gets attacked. Any idea with what I should start ? The only thing I hear is someone eating a cookie. Thanks Thiellie --------------- Here's the same Question a bit longer: I'm a student with 0 experience and interested in creating some sound effects. As my teacher's ears are tired of me asking questions I wanted to try another way to get information on how to do things. For a short film we made in school I…
Last reply by The Immoral Mr Teas, -
- 0 replies
- 884 views
Hey y'all. Thought you might be interested in this. Pro Sound Effects have a cheeky little giveaway in a couple of days. The prize is a 1yr sub to Pro Tools Ultimate, Izotope Production Production Suite, some stuff by Krotos, and $4000 worth of samples from PSE. No affiliation, but everyone deserves a copy of RX! I hug mine every night. Pro Sound Effect Giveaway
Last reply by LDstudios, -
- 2 replies
- 902 views
I posted this in the computer section also, I hope that's okay, if not, please delete. I have a question for the post production / computer experts here. Our facility runs two ProTools HDX suites for audio post for Television. We mix in stereo only. The audio systems used to be synched to house black with an AVID Sync HD and the video satellite (AVID Media Composer with Mojo DX I/O) is also synched to house black . Since our workflow is entirely file based now I’m not sure if I still need to use the Sync HD and here’s the reason why I’m asking. We bought an IZ Technologies RADAR Studio for our A suite about 2 years ago. It replaced an old MacPro. Tha…
Last reply by Werner Althaus, -
How do YOU deal with them?
Last reply by TVPostSound, -
- 12 replies
- 4.9k views
Hello everyone, I'm working on an environmental documentary mix and the editor/director did not include all the audio feeds into the timeline edit and resulting AAF. So I am trying to reconstruct the edited version of audio and replace the Lav Feed with the Boom. So I have all the original source RAW interviews that were recorded on location copied onto Temp tracks in the project. Is there any way to "match" by waveforms in Pro Tools 12HD? This would be similar to the way PluralEyes and Premiere Pro matches audio by analyzing waveforms. Ideally, I'd like to pull up some sort of plugin window, select my "Source" samp…
Last reply by TVPostSound, -
- 1 reply
- 715 views
I recorded two lavs and one boom to a Zoom F8 in a remote location. I didn't notice any audio problems when monitoring. On the files, including each iso, there is a 'warble'. It is on some of the tracks, and not others, though set up and location was the same during short interviews. I say this because i don't think the interference came from the microphones, i think it happened in the recorder? I would like to try and fix it, the spectrum analyzer shows deeper dropout from the 'warble' or 'modulated' tracks. I don't know how to research it because i'm not what happened or what to call it. Linden Intermodulated Boom .mp3
Last reply by canyouhearmenow, -
- 1 follower
- 18 replies
- 3.4k views
Hi! I am happy to have found this forum! I have to sync my 50p footage for television to an audio recorder. timecode can only be provided to the camera Via mini jack audio LTC port. As the LTC protocol only allows frame rates up to 30p I can only select 25p in the ultrasync one timecode box. The software then has to interpret this timecode and calculate the timecode for my 50p video. I couldn't do this in avid or davinci resolve, does anyone know a way? I think tentacle sync studio can do exactly this but I don't own it and it is a rather complicated workflow. Does anyone know how to do it in an NLE? especially avid or dr?
Last reply by Sound, -
- 1 reply
- 1.7k views
I am starting a new topic on this as it doest fit into my old post: I just bought a Mixpre 10 II and I am trying to Sync it to my Sony a7 III via two ultrasync one units. So i am converting audio timecode of the video file to Start Timecode and sync it to the timecode of the mixpre 10 II. BUT: The Mixpre 10 II has a file size limit of 4GB because of the SD card recording. So it always splits audio after some time and creates a new file. in 32bit with 10 tracks 48khz its about 37 minutes. So its very likely to have a video file that has to be synced to multiple audio files, but that doesnt seem to work. Avid Media Composer and Davinci Resolve only s…
Last reply by pillepalle, -
- 1 follower
- 4 replies
- 861 views
I'm prepping a 2-hour docy that has an important one-shot premiere in a historic theater... in ten days. (Needless to say, it's not locked yet.) Of the two hours, about five minutes has stereo music or sfx. The rest is archive footage and new interviews. The theater can handle DCP, but the producer can't take the time for a lab. He's leaving my studio with a hard drive under his arm, hopping on a plane with the editor and his laptop, and they'll be syncing and compressing as necessary during the flight to the venue. The theater can also take BluRay with AC3, or play a stereo or LCR track with picture from a hard drive. I wan…
Last reply by Mike Westgate, -
- 1 reply
- 600 views
Has anyone else noticed that when you pull up the global clip gain (Shft-Ctrl + -), after you make gain adjustments, sometimes the undo doesn't function? T Sometimes it works, other times ...nada. I was doing a bunch of dialog gain adjustments and did about 10 of them, changed my mind and decided to try and undo them. No luck Chuck. Not sure if it's just me or if others have noticed. OH and btw; I'm using a windows system.
Last reply by TVPostSound,
