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The Post Place
the section for everything relating to Post-Production
344 topics in this forum
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- 4 replies
- 9.8k views
Hello, How do you export a Quicktime file with 5.1 audio from Final Cut Pro 7? You would think this would be pretty simple, do x, do y, export and walla you have a 5.1 audio file. However, I'm running into a few issues and I'm unsure how to verify if it is indeed 5.1 Here's a couple of instructions I found: http://fcproducer.com/2007/02/export-51-surround-sound-from-final-cut-pro/ https://discussions.apple.com/thread/3284332?tstart=0 I followed the first one. The first thing I noticed is that once I set my 6 tracks to dual mono, I could not hear the dialogue track anymore within Final Cut 7 program, however I can see that it is present in the waveform. I…
Last reply by Joe Riggs, -
- 0 replies
- 828 views
http://splur.gy/r/SGf5k/r/2MZb2dhcLDv If anyone is intrested
Last reply by CraigF, -
- 2 followers
- 12 replies
- 2.1k views
Hi colleagues, Can anyone recommend me a good and "simple" software which makes system and file back ups at the end of the day. What do you use? Thanks! Dennis
Last reply by Tom Visser, -
- 1 follower
- 25 replies
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On some shows like Breaking Bad and True Detective, you can sometimes hear a high frequency tone on top of the dialog track, as if it was some kind of carrier tone. It also follows the same gate as the dialog so it must be a technique. Does anyone know what this is?
Last reply by bmfsnd, -
- 35 replies
- 3.5k views
I'm working on a film shot in the absolute style of a spaghetti western. (No sound was recorded on set) We are doing ADR and foley for the the entire film. I've been trying to read up on the sound for those films without any real success. I've been looking for ways and just trying to see if anyone can offer advice on making it sound as "Gritty" as films of that era.
Last reply by Jay Rose, -
- 8 replies
- 2.1k views
Got the final sound mix files from the post sound team. They are 90 min long wav files and when I try to import any one of them into FCP 7, I get this error: File Error: Unknown File .wav Very similar to this post http://forums.creativecow.net/thread/8/1180926 The files were exported from Pro Tools with the following specs: It is the "little endian" codec that's the problem?
Last reply by Jeff Hall, -
- 1 follower
- 11 replies
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Hello Everyone I am a Pro Tools user that mixes primarily TV spots and corporate videos. I have done 3 feature-length projects, and I am now looking to step my game up to the world of Pro Tools HD and learning to mix in 5.1. I will be using a new mac pro 6-core with PT HD Native (connected via Thunderbolt) along with the HD omni interface. I have a big question as to which speaker system I should select for monitoring my mixes. For stereo mixes, I have been using Yamaha HS-50m's, and they have been great for me. The EQ response is nice and flat, and my mixes always translate well. If I get a good mix on the yamaha's, the mix sounds appropriate from every playback …
Last reply by Johnny Karlsson, -
- 1 follower
- 17 replies
- 3.4k views
In the context where I work, the video editors send us a finished episode to work with. Then, the audio team will do the backgrounds, foley, dialogs, music, etc, and when the final mix is done, the episode is sent for review to the director, producers, and a group of people who will ask for changes in audio, and video. After the editor receives those requests, he will do all the video adjustments and send us back a new video and an .omf with a reference track to cut and assemble the Pro Tools session according to this new version. Now, here comes the problem: The changes made by the editor include opening space for new scenes and shots that were not in the pre…
Last reply by Mark Orusa, -
- 2 followers
- 3 replies
- 1.1k views
Here's an interesting read I found in one of the Facebook groups. http://www.asoundeffect.com/creating-the-sound-of-cosmos-a-spacetime-odyssey/
Last reply by Marc Wielage, -
- 10 replies
- 1.5k views
HELP!! Got a call from the Post house handling editorial from a movie I just wrapped. The called to say my audio was useless and that all the waveforms are clipped or squared off in Media Composer. I brought them in to Protools and saw no issues. In this scene, my normal dialog sits between -20 and -10 with a character smacking a table peaking at -4 In protools I know how to change the height of the waveform inside the track. I don't need to change the height of the track, just the vertical display of the waveform inside the track. When you scale it down in protools you can see my levels are good with no clipping.. Need to nip this in the bud...
Last reply by Jay Rose, -
- 1 follower
- 6 replies
- 2.5k views
I know this one seems pretty obvious, but I would like to know what are the duties of a Supervising Dialog Editor. Of course he has the responsability to observe other Dialog Editors work and keep the quality as high as possible giving them advice, and providing them with tools and techniques that will help them to do their work better. I also understand that a Supervising Dialog Editor is responsible to be in constant communication with the production team in order to give them feedback and letting them know what are the needs at Post or what can be improved. However, I would really like to know with as much detail as possible about the specific duties of Sup…
Last reply by The Immoral Mr Teas, -
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I am looking for someone to help cut FX on a low budget feature preparing for a temp dub. There is pay. The film is a 75 minute comedy and is fairly easy. The most difficult scene is a brief car chase involving a limo. You may do as little or as much as you wish. First deadline is in about two weeks. PM if you are interested. Thanks,
Last reply by Bondelev, -
- 7 replies
- 1.5k views
HELP!!! i updated my Pro Tools v10.3.6 to Pro Tools v11.1.2 and now my "Revolver" reverb plugin, as well as my "FutzBox" modulation plugin are now "not in the plugin folder." I'm wondering where this folder has moved to? (as the new on in my documents, only has presets and maps.) and whether there is an easy way to move all my plugins from PT 10 to PT 11. Thanks! P.S PT manual is not comprehensive, please don't suggest it.
Last reply by studiomprd, -
- 1 follower
- 9 replies
- 1.8k views
Hello all, Just had a quick spotting session for an upcoming 5.1 mix. Our editor was using an ipad app he invented to jot down quick notes on the fly, all being synced through wifi to the TC of the Pro Tools session [LE 10]. It was very helpful to get an e mail the next day containing close to frame accurate notes to make changes before the final mixing. http://www.digitalrebellion.com/cutnotes/ Just wondering if that would be helpful to anyone else out there. I was impressed.
Last reply by Henchman, -
- 1 follower
- 9 replies
- 1.9k views
Is this something that's possible that I am too dumb to figure out on my own? I have maybe 5 different noise profiles to filter out, and at the moment I have to run individual instances of the plugin and automate the global bypass in order to do so and keep my CPU happy. I know I could destructive edit a copy of the selected audio, but it seems to me what I'm proposing wouldn't be that difficult to implement. Anyone else have thoughts on the matter? Please share.
Last reply by Crussell, -
- 12 replies
- 2.2k views
I have a few projects that I recorded in surround (4 channel, L, R, Ls, Rs) and I would like to export them to a format that can be listened to on stereo headphones, preserving the surround effect. I would do this from Logic if possible. Any rcommendations for plugins and such to do the job?
Last reply by TDP, -
- 1 reply
- 763 views
Hello, I wanted to know if anyone works with plugins izotope Online Mode? I mean plugins such as Dereverb Denoise? I downloaded the demo version for testing and the plugins I mentioned above barely work on my computer. i want to buy a new bundle of plugins for cleaning noises, and I wonder how powerful my computer needs to be to open at least five plugins such as Dereverb and Denoise... Thank you for your help.
Last reply by Jay Rose, -
- 5 replies
- 1.2k views
The company I work for wants me to create a new position in the post team and be in charge of it. You tell me what could be its name since I am not sure yet. Let me explain you what it is about first. We are a big TV production company, and constantly there are 2, 3 or even 4 shows being produced simultaneously. Each production has its own audio post team, which includes 4 people most of the times: A mixer (who also selects and edits the music, that's why here we call him the "musicalizer"), a dialog editor, a foley editor and an assistant who does backgrounds, conforms, and various tasks (everyone has to do everything at certain point when deadlines are tough). The…
Last reply by Ze Frias, -
Avid has a new CEO as of yesterday. Earnings announcement later this month. "Could Hernandez’ appointment, made by the company’s Board of Directors, spur a turnaround at Avid, manufacturer of the industry standard DAW (by a landslide) and the crucial core of many, many music studios, film and TV audio post suites, and live venues? Well maybe – but seeing how Avid is steadily sinking, there may not be a whole lot Hernandez can really do." http://www.sonicscoop.com/2013/02/11/avid-switches-ceos-will-louis-hernandez-turn-it-around/
Last reply by Philip Perkins, -
- 1 follower
- 4 replies
- 1.5k views
I've always used free run code to jam slate an camera Did a 2 day job with an Red Epic but editor says she cannot auto sync?? If the free run code could be seen as a "time" what's the problem? Epic menu is not my forte nor the camera teams strength either! I know there is time-code and edge code so how can I make this work next time. Done dozens of shoots and a feature on 2 x Alexas without a problem So help and advice appreciated Cheers mike
Last reply by deanmc, -
- 4 replies
- 1.4k views
With a freshly edited session of a short film I recorded sitting on the desktop waiting for mixing I thought I'd recalibrate my monitoring and aimed to get it close to 82dBVu at listening position with pink noise. I spent a bit of time trying a few other things out, matching levels with tone at 1kHz and 500 Hz, and then pink noise. I also matched with an aimed condensor and a omni mic into 2 different recorders. The results were surprising, interesting and concerning. After matching levels with tone my ears could detect what I thought were massive differences in level, even though both mics - hyper ( MKH50 ) were metering the same levels and the omni ( Cos11 ) was…
Last reply by ccsnd, -
- 1 follower
- 10 replies
- 1.8k views
http://goo.gl/PnaZ8O
Last reply by Wandering Ear, -
- 3 replies
- 1.4k views
Not many applications import the cue points list from broadcast wave files, but if they did, what would you want to see? TASCAM HS-P82, etc automatically puts in mark points at the start of the data ("PRE" - for PreRoll start), at the instant the recording was started "REC", and an END point. Then if the user hits the Mark button, they get a MARK cue point. If the user hits the MARK button close to when the sticks are clapped, wouldn't that be useful in post-production? If so, you'd want to differentiate it from other Mark points, which might be short hand for "flubbed line here", "bad audio/plane overhead" etc. What about a "STIX" mark point? (We have a self …
Last reply by soundtrane, -
- 1 follower
- 26 replies
- 3.3k views
I dont know how many of you have experienced this, but I have a feeling it is becoming more and more frequent as productions hire people with less experience to save on cash, since budgets are just numbers pulled out of a hat (in the indie world) and rates are set by producers.... anyway, heres the rant: I dont usually do post because on an indie level, production is basically just asking for favors by the time principal photography is done. But every now and then I will do--work on a project if I have time, approve the production audio (I will not do salvage jobs), and like the project enough. The last film I did post on, the guys really knew their stuff, and even ad…
Last reply by conleec, -
- 1 follower
- 5 replies
- 1.6k views
I own Pro Tools 9 and have seen on HD systems the ability to write automation to a single clip and then write that same automation to multiple clips and I am wondering if that feature is available in non-HD systems. For example, if am trying to remove room noise using Waves WNS and want to apply the same noise reduction gathered from one clip, to all other clips from the same room, is there a way to in other words copy and paste that automation so that I don't have to be constantly re-running that plugin and potentially getting different noise reduction results?
Last reply by Eric Lawrence,
