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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
- 1.6k views
Recently I was working on a little commercial video and one of the wild lines was recorded too far away from the subject. The reflections/reverb in the room are pretty bad and hard to match with everything else. I tried to use rx4s dereverb but I haven't gotten any results I really like. What makes it worse is they rerecorded the line but sent back something pretty similar and unusable. Just wondering if any one has used Zynaptic Unveil and if anyone preferred one or the other.
Last reply by katrinafairlee, -
- 1 follower
- 3 replies
- 2.4k views
Hi I´m having some difficulties conforming original audio from an EDL made by Premier Pro CC 2017. I´m not to familiar with Premier so this is really a question; When exporting a EDL in pp what is the difference between ticking in the "use sound roll/sound timecode" box and not ticking? I know that I get the sound rolls into the EDL, but the source timecode is not the same between the two options, and the edit is made from a proxy, so the timecode of the proxy audio and the proxy video should be the same? The point is that I do get correct source TC i/o times when I uncheck the "use sound roll/sound timecode" box, but then I don´t…
Last reply by Bubu, -
- 3 followers
- 31 replies
- 5.7k views
I couldnt see a specific thread about Pluraleyes but I could see a lot of very sceptical posts about the softwares ability from around 2111/2012. I have worked with a lot of people (editors) who absolutely swear by it and when I do 5D work I can just give them the audio files and nothing else (it helps if times of day matches a bit) and I've not had wines or gripes. I did do one job here in ZA for an American company who insisted I got a big ass SD mixer (as well as top of the range everything which was hired at great expense) and we shot on some bigger Cannon cameras and the time code kept drifting and there is always the framerate issue. Now enough time has gone by for…
Last reply by chrismedr, -
- 6 followers
- 45 replies
- 5.7k views
Hi everybody, the dialogue editor which is working in a movie I recorded using the Schoeps SCMIT (Output 1, Preset 1 non aggressive one) told me that it's impossible to phase it to wireless mics (Zaxcom + DPA4071). Has anybody else noticed same issues? I'm asking cause I'm trying to figure out if I got to service it. Thanx, Angelo.
Last reply by RadoStefanov, -
- 0 replies
- 970 views
Izoptope are having assorted sales until the end of the year and one of the items on deep sale is the Advanced version of Izotope RX 5, which is down to $749. Weirdly, if you already own RX 5 standard, the upgrade price to Advanced is $849 with no sale discount available, so it's currently $100 cheaper to buy Advanced outright than to upgrade from standard. No idea why this should be, but the same applies to the RX Post Production Suite, currently down to $999 for the full program, while the upgrade from RX 5 standard is still at $1,149. I've had this confirmed by Izotope; see below. Hi John, Thanks for reaching out. You’re right, the current promoti…
Last reply by soundmanjohn, -
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- 1.3k views
Hey! The JBL LSR305 is on sale for US$100/each at a bunch of places. That's $50 off the regular price, and $100 off for a pair (<== For the mathematically challenged). Out of the low-cost monitors I've heard (and occasionally suffered through), these are my fave. Looks like this is a Black Friday sale (and I don't know if the discount is available outside the US), but it could be that JBL will soon announce an update/replacement speaker coming out soon (what with NAMM not that far away). But even if there is an updated model coming out, this is a great deal. One of many vendors offering this price: http://www.sweetwater.com/store/detail/LSR305
Last reply by Jim Feeley, -
- 1 follower
- 5 replies
- 2.4k views
I created an embedded AAF file of a mix session I am working on, this mix includes volume automation, compressors, EQs, etc. Once the AAF is created and I go to open it to make sure it is all correct, but none of the volume automation, or any of the inserts that are built in protools open in the new imported file. All the clips seem to be correct, but none of the data or those inserts are loaded. Am I exporting or importing the file wrong? Is there another way for the AAF to include all automation and inserts? Thanks for all your time and help. Carlos.
Last reply by ProgressiveDrum, -
- 1 follower
- 1 reply
- 933 views
Apologies in advance, I'm sure this is covered here on this group but I can't find it anywhere (yes I've tried various searches). I'm trying to import a polyphonic BWF file (8 tracks, recorded on Zoom F8) into Logic Pro X while preserving the track names that I have saved in the metadata. Is that possible? Seems like it should be a no-brainer but I can't make it work. I can do it by splitting the tracks into separate mono tracks via Wave Agent and then importing them separately into the DAW but then I lose my track name information, not to mention the annoyance of having to import each track separately. If you could help point me to some info on how to do this it would be…
Last reply by ProgressiveDrum, -
- 16 replies
- 1.8k views
Here's a bit of a dumb question regarding post sync. The editor for an upcoming shoot refuses to sync audio in post by TC, saying it's "too much work", instead he asks for audio to be cabled or sent by wireless direct to cam. I've never sat in post when they synced but always thought it's like one click to sync audio and video files by TC. Have I been wrong on this? Do they have to sync audio and video for each take or can it be done for batches of files?
Last reply by Christian Spaeth, -
- 1 reply
- 1.1k views
Apologies in advance, I'm sure this is covered here on this group but I can't find it anywhere (yes I've tried various searches). I'm trying to import a polyphonic BWF file (8 tracks, recorded on Zoom F8) into Logic Pro X while preserving the track names that I have saved in the metadata. Is that possible? Seems like it should be a no-brainer but I can't make it work. I can do it by splitting the tracks into separate mono tracks via Wave Agent and then importing them separately into the DAW but then I lose my track name information, not to mention the annoyance of having to import each track separately. If you could help point me to some info on how to do this it would be…
Last reply by Mark Vesterskov, -
- 8 replies
- 2.2k views
Hi all, I'm currently helping a friend out editing sound for his short film and there is a couple of scenes shot on and around a beach, we are struggling as one of the actresses speaks quite quietly and is conflicting with the sound of the rough sea and waves, just wondering if anyone knows a fixable solution to either lower the background noise of the sea, effects in audition or premiere that might be helpful or how to raise her voice without raising the full track so it doesn't conflict as much, ADR isn't an option really so it's got to be something we can fix In the edit if we can. Thanks in advance
Last reply by al mcguire, -
- 1 follower
- 17 replies
- 2.4k views
Howdy everyone, Soooo, I'm still working on that WWII movie and am pretty close to completing. however, I just hit a scene with some extreme closeups and I can hear the camera's motor/film sound pretty well. I seem to remember back in film school they used a blimp/barney to dampen the sound but I'm pretty sure they didn't use one on the shoot. I've created (more like hacked together) some Room Tone so I can cut in and out between dialog bits, but it feels clunky. Then I got thinking about it more and was wondering what the big post guys do when they want to remove the camera's mechanical sound? Short of ADR which I suspect the director would probably no…
Last reply by atheisticmystic, -
- 10 replies
- 3.2k views
Actually getting drunk is not needed to perform this task but wanted to show that even someone after a couple of drinks couldn't mess it up.
Last reply by Chad Peter, -
- 1 reply
- 1k views
Hello, Working on a doc that is partially set in rural Iraq / Afghanistan. As a lot of it is shot in 3D, I thought it would be nice to include some Ambisonic backgrounds as a layer in the mix. Thought I would see if anyone had any they would be willing to share!
Last reply by t2audio, -
- 1 follower
- 36 replies
- 9.7k views
Does anyone have a standard workflow they use when equalizing a thinner lav feed to the more robust boom? I'm assuming you probably use the spectral analysis in protools coupled with an eq. There used to be a bias app called repliQ that did an awesome job but they're outta business. It seems rather clunky to do it just by ear and I'm assuming those who have more experience know exactly what to do. Any suggestions? jgbsound
Last reply by Micah Loken, -
- 4 replies
- 1k views
I have a bunch of polyphonic wavs from production with 8 tracks for a 2 person stationary scene. Some mics sound inferior than others ( I do want to keep all the tracks in the end) just for the offline edit that amount of tracks per clip makes it really cumbersome. I'd like to reduce the number of tracks to the strongest/cleanest ones (which seem to be the first 3), then sync....or I could sync first, then reduce. I just want to make sure that by working this way, post sound will still be able to conform to the 8 track original wav file. Has anyone done this with Wave Agent or some other program? Are there issues conforming to all tracks in the original f…
Last reply by conleec, -
- 1 reply
- 948 views
I was scanning the FB Production & Post-Production Sound for Film/Video group and found a discussion on Aligning phase in the polyphoninc dialog tracks. A lot of it was a rehash of a jwsound posting, but part of this reply popped out at me. I use Premiere/Audition, and when you Merge Clips (audio waveform matching just like PluralEyes), the waveforms are automatically time aligned to the best of the computer's ability. For mics that don't move a lot, that means you can blend them, no problem. I often throw down a plant mic for the purpose of giving me a 'reverb/room' track that I can blend into the lavs, which I find can often help match to the boom. If you …
Last reply by rich, -
- 3 followers
- 31 replies
- 14k views
I don't do it very often, but sometimes I convert BWAV files to mp3 for transcription. I have yet to find mp3 conversion software that will carry over timecode information from BWAV files into the mp3 tags. I know from experience that recording directly to mp3 from a Sound Devices recorder will spread all kinds of useful metadata-like information into mp3 tag fields. Timecode, track names, etc... But doing this after the fact via conversion software would be handy. Now that I've gone Nomad I'm curious to see how the mp3 recording option will handle metadata. It is yet-to-be-implemented currently. Actually, I'm going to HAT! Mark
Last reply by Jeremiah Sheets, -
- 2 followers
- 20 replies
- 2.4k views
I have a friend that I'm working with next week shooting on a 5d mk3 doing double system. When we import my audio, recorded on a 633 at 0db, he has severely low levels in Adobe. Any clues?
Last reply by Rick Reineke, -
- 0 replies
- 679 views
I'm sure a lot of people saw this. Pretty interesting acquisition. I'm wondering what the direction they will be going with this... https://www.blackmagicdesign.com/media/release/20160909-02 Sent from my iPhone using Tapatalk Pro
Last reply by myke2241, -
- 1 follower
- 8 replies
- 1.9k views
Hi Everybody! I'm working on an indie WWII short movie (40 minutes) post mix and have quite a few gun, rifle, and munitions SFX involved. I was hoping to create a rear channel slap back echo to mimic what you'd hear if you were in a canyon say and the sound trails off into the distance. I tried simply running it through Altiverb and editing out the beginning of the clip, then mapping the reverb tail to the back channel, and it worked (sort of). It sounded okay, but I'm pretty sure it could be better. Then I tried switching it up and tried used Space, then ReVibe (which did get it closer but still not satisfying) Does anyone have any suggestions/ideas…
Last reply by jgbsound, -
- 12 replies
- 1.6k views
i have got a job where production is asked to assign members of cast to certain tracks, no problem then it reads " Channel 6- Float 1 Channel 7 - Float 2 " Could someone please enlighten me on floating Thanks Tom
Last reply by John Blankenship, -
- 13 replies
- 1.7k views
Sorry if this is common sense, or something often talked about that I'm not searching for correctly, but I figured I'd just take a stab and see if I can get some opinions... I typically do a lot of post work for the short films that my company produces - just comes with the territory. In the past, not having a timecode recorder I would create new master video files after each shoot, creating files with the 2nd system audio built in with the video track - time consuming but it worked. Fast forward to now - I have a 664 and we shot on a Weapon and everything was in TC heaven... so now what?? I've been told the whole point is so that editors can take the came…
Last reply by Philip Perkins, -
- 3 replies
- 952 views
A question for the gurus who know more than I. 1. A client sends me an OMF of a 30 second commercial and asks me to sweeten the audio and give him a mix. Not a problem....done this many times before. 2. He edited his mix in Premier and sent an OMF to me for audio work. I asked and received a reference video as well. I use ProTools. 3. One of his clips in the timeline was speeded up in Premier to account for some guy talking too slowly during filming. Nothing terrible and if he hadn't told me, I may not have known. 4. However...he included the original audio clip (sans video) and wanted me to use that audio instead of the one he speeded u…
Last reply by Mobilemike, -
- 8 replies
- 1.4k views
Hello Everyone, A previous employer of mine called me up and said his show is possibly going for syndication. Therefore, the powers at be are asking him to provide the following:
Last reply by Philip Perkins,
