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The Post Place
the section for everything relating to Post-Production
344 topics in this forum
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- 5 replies
- 2.1k views
I'm trying to understand what constitutes a 5.1 track being Dolby Digital? If one receives a 5.1 mix, is it autpmatically Dolby Digital or are there other aspects that determine if it is a 5.1 "DOLBY DIGITAL" track? Thanks
Last reply by minister, -
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- 808 views
Hey guys, hope you are all well. We have just launched a huge sale over at Sonniss in celebration of Halloween 2015. (You might want to check it out). There are some great deals to be had this week on many popular indie sound libraries from people like Coll Anderson, SoundBits, Detunized, SoundMorph, etc (over 200+ are on sale).http://www.sonniss.com/sound-effects-sale/I have compiled a list of the discounts available on Google Sheets... (hopefully this makes things a little easier for you all)https://docs.google.com/spreadsheets/d/1N1s8z0F5VMcP1c987Hup4urSe1Zyz-VgnKMrUf-c_48/edit?usp=sharingIf you have any problems with your order, just drop me a message (we offer 24 / 7…
Last reply by Sonniss, -
- 12 replies
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RX 5 Advanced Audio Editor Highlights De-plosive: Instantly eliminate every single plosive from any dialogue track, with total transparency. This is an industry first. Leveler: Automatically creates a clip gain envelope to smooth any volume inconsistencies with the Leveler. Optimized with intelligent De-breath and De-ess algorithms, the Leveler automatically detects breaths and esses in a dialogue take, then applies transparent clip gain adjustments. This is an industry first. RX 5 Audio Editor Highlights Instant Process tool: The one-click magic eraser for your audio. From unwanted cough to scene-interrupting siren, instantly paint away any audio problem directly …
Last reply by Jay Rose, -
- 1 follower
- 5 replies
- 1.4k views
https://vimeo.com/142198470 Most of us do not have the time or patience to listen to this whole discussion from Walter, but if you do, there are so many important things Walter has to say about our relationship to the systems and tools we use. I learn so much every time I get the chance to listen to Walter speak about these things. https://vimeo.com/142198470
Last reply by Marc Wielage, -
- 7 replies
- 3k views
Hi Everyone, I am a Sound Editor at a post sound studio in Hollywood, and we are in the process of building a new space. I was put in charge of designing our foley pits, and I don't really have any experience with the design and construction of them. This is a legitimate foley stage, so please don't give me ideas for portable pits. We are going to have one small pit in our ADR room, and then a larger pit for our theater. I have a few questions about the construction of these foley pits for anyone who might know. 1) How deep do the pits need to be? 2) For surfaces like tile, wood, and carpet, do I need dig out the space and pour concrete to put the tile and carpet on…
Last reply by John Blankenship, -
- 2 followers
- 30 replies
- 15.4k views
Hello, Trying to figure out the best, cleanest way to export an OMF from Premiere to Pro Tools. I'm noticing that due to how Premiere tracks handles audio files, even mono files, will end up with a Left and Right duplicate. So if you have 6 mono tracks, you'll end up with 12 tracks in the OMF (each original track duplicated with a left and right channel). This not only creates more neadless clutter in the timeline but it also increases the file size, thereby making encapsulated OMFs hit their 2gig limit much sooner. Does Pro Tools have an issue linking files from a referenced OMF vs an Encapsulated one? A potential workaround is to open the omf in Audition, delete th…
Last reply by David A-Ribeiro, -
- 1 follower
- 16 replies
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Howdy Gents, So I have a new shiny S3 console and am re-calibrating my speakers for film reference? (85 C spl). So I mapped 6 tracks in ProTools to discreet channels for the 5.1 field and inserted Pro Tools tone generator, set it to pink noise to start the process. By default, the tone generator sets the tone level to -20db (for headroom?). But if I truly want to work at the 85db reference level, shouldn't I set the tone generator to 0? By doing this wouldn't that more accurately reflect the meximum 85spl I need to dial my monitors to? Am I thinking about this the wrong way? Thanks for any guidance you can give me! John
Last reply by minister, -
- 1 follower
- 7 replies
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What is the standard protocol when working with a post house after you deliver the sound materials from the client end? I'm assuming, general cleanup and dialogue are done with them but at one point is the director brought in to give feedback/notes? Is this during the mixing stage or before? Can stuff be changed during the mixing stage?
Last reply by RadoStefanov, -
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- 770 views
because who doesn't like free? http://goo.gl/K58hvn
Last reply by CraigF, -
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- 970 views
Thought this might interest some of you... Conversations with Sound Artists Podcast - Writing for Sound with Randy Thom August 24, 2015 10:47pm Skywalker Sound’s Director of Sound Design Randy Thom discusses with Dolby Institute’s Glenn Kiser how writers and directors can use sound as a tool to tell their stories, the importance of APOCALYPSE NOW to modern sound design, his work with Robert Zemeckis to maroon Tom Hanks on an island in CAST AWAY with no music or wildlife sounds, and what’s wrong with the current state of sound for animated films. http://soundworkscollection.com/news/conversations-with-sound-artists-podcast-writing-for-sound-with-randy-thom 75-min…
Last reply by VASI, -
- 4 followers
- 15 replies
- 2.1k views
Hey all, I'm about to start work on an animation of a firefly and am trying to recreate a real flappy, fantasy, fairy like wing sound. Something similar to this at 12seconds. http://www.bonson.ca/product/wings/ I have tried flapping pieces of paper of different sizes and speeding it up which seems to work but I can't quite get that proper flap out of it... more of the papery click.. Wondering if any of you had some advice/ideas as to how I could make this work.
Last reply by Sprotnik, -
- 1 follower
- 35 replies
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Hello everybody, So the time has come to upgrade my studio (I have the Yamaha HS series monitors set up in a 5.1 config) and my budget is about 1k a speaker. I've been listening to the Dynaudio BM6 MK III's and they seem pretty solid. They appear to have a pretty flat frequency response. These, paired with the BM14S II 12"Subwoofer, I'm thinking this would be a pretty good mixing environment. While, others are mixing on Genelecs, and still others, I see, are using the Focal 6B series monitors, et all, the BM6 MK IIIs appear to be decent performers (I really can't afford the Dynaudio AIR series which have the sculptable EQ for each speaker which is pretty friggin' …
Last reply by Sprotnik, -
- 1 follower
- 12 replies
- 4.7k views
Sunk original audio (file named by take) with video file. Merged the clip and the audio file now takes on the video file name. Edited the film. Now the Post house, needs the original audio file names for all the audio files used in the edit. Is there any way to get the audio used in the edit to revert back to its original name? Maybe there's some 3rd party program that can help with this?
Last reply by Micah Loken, -
- 1 follower
- 3 replies
- 882 views
Is there anyway to strip a 6 discreet channel quicktime file of it's audio, so I am left with 6 mono files (these could be separate or poly)? I know this can be done within an NLE but I was wondering if Quicktime 7 has this capability or some other program that is not an NLE or DAW?
Last reply by Jay Rose, -
- 3 followers
- 15 replies
- 2.9k views
Local 695 held a seminar at Kingsoundworks in March, 2015. "Bridging the Gap from Production Audio to Post" discusses many of the topics we have been discussing here regarding metadata and also the issue of whether we need a mix or not. Local 695 has graciously made this video available to JWSOUND members. Watch on YouTube also
Last reply by Henchman, -
- 1 follower
- 13 replies
- 1.6k views
So as it goes, every so often I hit roll with the wrong metadata. It's an easy fix. But, post wants the files named by scene/take rather than segments. Wave Agent does this as a batch process. But Wav Agent doesn't recognize any files with renamed metadata. So now all if a sudden I look like a fool on the dailies notes which say that I mis-named the files. The Deva sound report CSV file has everything correct, it's just the metadata. Is this a Deva fail? Does the Deva not actually change the metadata? Any ideas? Help! Dan Izen
Last reply by pindrop, -
- 18 replies
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I don't want to divert the discussion in the other speaker thread, so... My son is heading off to college in the fall and he plans on majoring in music (probably a mix of jazz performance and some sort of composing). He'll be living in a dorm with limited personal space... we're looking for some decent speakers/monitors for recreational listening and perhaps working through some of his homework. He'll probably rely on headphones for careful listening (no problem; there are plenty of those around here). But we're not sure what to look at or buy for speakers. NFMs I have down...cheaper and smaller speakers, I'm not so sure... We'd like something powered, compact (not much…
Last reply by gpiegari, -
- 1 reply
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Hello, everyone. I'm searching for the best way to solve the sync issue of the field recorder match in Pro Tolols. After this matching process, always there are very small random gaps between the editor's AAF/OMF tracks and my field recorder tracks. It's nervous, though they are very small gaps (2 frames or less). Today, I made some tests using Fix Sync of Titan4. This is my first experience of Titan. And Titan is 14days trial mode. To be honest, I was very impressed by Fix Sync. It's very easy and precise. But I have one question. In my test, Fast Align mode was pretty accurate. The result was in error by less than 3 samples. But, Sample Accurate Mode was much more …
Last reply by Mikisuke Shimadzu, -
- 3 replies
- 943 views
I have a edited Feature film (Premiere Pro) that is picture locked. I have an AAF, EDL and XML. I use PT10HD. The AAF is fine. But I am wandering why an AAF and OMF rewrite all the files (using both embedded media and separate audio files)? Is there a easy way(automated way) to relink the original production sound files? Is it possible to rebuild the timeline using the original tracks without me manually doing it for each edit ?
Last reply by Philip Perkins, -
- 1 follower
- 40 replies
- 6.7k views
http://youtu.be/3hW9lvCcVwE With conform application inside
Last reply by ramallo, -
- 1 follower
- 4 replies
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I was on a shoot today where talent was out of range a few moments. i was providing my zaxcom recorded files from the tx to my client and i noticed that i mistakenly left transmitters at 29.98NDF when the mixer/recorder and camera were set to 23.98. am i understanding correctly that because all zaxcom files started at the full second i.e. 09:36:18:00 that i can go into wav agent and put in the corrected tc of 23.98 in the metadata of those zaxcom files and all should be good to line up for my client in editing? these files are not a complete deal breaker but more of an added bonus should they need them. i believe even if it doesnt work they could still be able to utilize …
Last reply by RadoStefanov, -
- 0 replies
- 909 views
http://splur.gy/r/T7Q3y/r/2ZnhSBHhHBZ who doesn't like to win stuff
Last reply by CraigF, -
- 2 followers
- 9 replies
- 1.9k views
Slight rant... 29.97 is not what most people think it is. The original definition ties it to the color oscillator frequency, and the math comes down to 30 fps * (1000/1001). The actual calculation being 5×7×9/(8×11) MHz * 2 / 455 / 525 For word clock, we often talk about "0.1% pull down", so many engineers and software writers probably assume that 29.97 is 0.1% pull down from 30fps, which is 30 fps * (999*1000) Yes, that means there is a difference. It's almost exactly 1ppm, good enough for Hollywood? For Time Of Day Timestamping, a recording made in the afternoon or evening could be off by 2 or 3 frames just by the assumptions made here. D…
Last reply by Tom Duffy, -
- 4 replies
- 3.6k views
Doing some audio post workflow tests with an editor using Davinci Resolve 11 and Final Cut Pro. Production shot some tests using SD 664 and BM Ursa. Fed tc from SD to slate and Ursa. I was supplied with a copy of all the original source audio. In Resolve the editor synced the 664 source audio files to the Ursa's RAW video clips. All synced as it should. He then exported the video (as proxies) and synced audio for use in FCP. On the FCP timeline everything is in sync but the audio has now been renamed to their associated video clips' titles rather than retaining the source audio files' names (scene#, take#). They sent me an xml file of a rough edit but of course…
Last reply by Marc Wielage, -
- 2 followers
- 13 replies
- 3.5k views
Hello, I was wondering what is the traditional workflow for editing audio (cleanup, amplify, etc..), the process used as well as the best order: Would you Normalize first, then noise reduction, then EQ, then amplify? I just don't know what the best procedure is. Also if you have a track where the dialogue audio levels vary wildly, some quiet, some loud, what is the best process or processes to use that will result in a consistent audio level? Thansk
Last reply by jpustin,