The Post Place
the section for everything relating to Post-Production
358 topics in this forum
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- 1 follower
- 1 reply
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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
- 2.4k 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
- 1.4k 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
- 4.3k 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, -
- 10 replies
- 3.9k 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
- 1.2k 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, -
- 36 replies
- 13k 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
- 1.4k 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
- 1.2k 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
- 15.9k 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
- 3.2k 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
- 853 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
- 2.5k 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
- 2.2k 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
- 2.3k 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
- 1.2k 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
- 1.9k 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, -
- 1 follower
- 6 replies
- 1.8k views
My PT session for a short film has several audio tracks, and at some point I imported an OMF from the foley department. I worked directly from this OMF (maybe the problem started here?) with editing, processing, etc. Now that I was saving a copy of the session to another location, I was surprised to see that it required around 250 GB, where the Audio Files folder only was 16 GB. Not knowing where the issue was, I still made the copy. Later on, checking the Audio Files folder of the copied session, I had over 400 instances of the OMF, all with the same creation date and most of them with the complete size. It seems that it´s an instance for every clip that was not pr…
Last reply by Melissa, -
- 1 follower
- 11 replies
- 6.4k views
I would like to know how do you use reverb on dialog tracks, mostly in TV series. Do you send to Mono or Stereo reverbs? How many reverbs do you start with in your mixing template, which ones? Do you design custom patches for specific locations through all the series? Which reverb plugins or hardware do you like to use for this purpose and why? Any tips and tricks related to the use of reverb in dialog tracks? Whatever information you want to share on this topic will be welcome and I'm sure it will result very, very helpful. Thanks for your time.
Last reply by Werner Althaus, -
- 11 replies
- 12.4k views
Hey Guys and Gals! So I'm editing this feature and I keep getting "Video Engine was unable to stop." Error. I'm able to remedy it easily by closing the session and relaunching Pro Tools but it's damned annoying to do. It seems that it happens when I click into the timeline someplace, but my hand isn't perfectly steady, so I accidentally make a micro selection of a tiny tiny region. I went up AVID's support site found a few postings where others have been fuming about this issue not being addressed back even in PT11? I didn't want to waste my "1 per month" tech support ticket with AVID on an issue that is known and not yet fixed so I wanted to…
Last reply by Mobilemike, -
- 3 replies
- 1.5k views
These look interesting. And the first displays a good attitude and approach (as you might expect from the guy making the tutorials). Largely about using Reaper along with Pro Tools. Anyone here watched some of these? Any thoughts? I learned about these here: ----- http://designingsound.org/2016/07/reaper-tutorial-series-an-interview-with-david-farmer/ Reaper Tutorial Series – An Interview with David Farmer [snip] DF: There were lots of great tutorials already online for Reaper, and they were incredibly helpful. However I couldn’t find any that directly helped a Pro Tools user trying Reaper for the first time. The information I needed was sp…
Last reply by Jim Feeley, -
- 2 replies
- 1.5k views
Studio timecode DAT decks in very good condition: Otari DTR90, Fostex D25. Record / insert / assemble, lots of other features. DA98 DTRS in almost good condition ... has trouble loading. Doremi V1 Hard Disk Video Recorder [SD] in good working condition. Unusual Sony PVW2800 with AFM mod: Uses BVW cards to record/play all 4 tracks. Head clogged. Random AES3 cables (Gepco/Neutrik). (I put these here rather than WTB/WTS forum, because I'm not selling. I'm giving away, since I'm moving my studio. The only hitch: you have to pick up in Boston. Before the end of July. Reply by forum mail or email. )
Last reply by Jay Rose, -
- 8 replies
- 3.3k views
https://www.audioease.com/index.php I just watched the demo of this new Audio Ease INdoor plugin for post audio. I already use Speakerphone and AltiVerb, and this new INdoor plugin looks very nice. Lots of features and capabilities for people like me that need a fast way to worldize their sound effects in a mix. Tom Backus CAS
Last reply by Jason A, -
- 5 replies
- 8.9k views
Hey does anyone know the legal issues with using iphone sounds on a feature? I have a fair amount of characters who are using iPhones in this film and I was hunting around for royalty free SFX to fill in the "text received", text sent, ring tone, picture snapshot sound, etc and was wondering about using apple's stock sounds straight from the phone? Are there legal issues with doing this? Thanks for any advice, John
Last reply by jgbsound, -
- 10 replies
- 3.3k views
There is a scene in Batman V Superman at Lois Lane's apartment bathroom. Noticed underneath dialogue there was taxi car horn noise. Was just checking to see if there was a discussion on that decision. Whoever made that choice really set the scene really well. You didn't have to say it was Metropolis, it sounded just like New York. Was there any back and forth about laying more noise under dialogue? Or was that one of many honks from on location where more noise needed to be added to match unavoidable set issues?
Last reply by cmgoodin,
