The Post Place
the section for everything relating to Post-Production
350 topics in this forum
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- 46 replies
- 4.4k views
I did the sound for this short film shot on 16mm running at 24 fps. I set my recorder at 48KHz and 24 (apart from the first few shots, where it was left at 25 by mistake) there was no tc jamming, a clapperboard was used for all shots. Now a few months later I am told they can't sync none of the audio. It has already been transferred to beta and then to digital for Avid mxf. No syncing done at any of those stages. Now if I understand correctly the material is at 25 fps? I didn't even get a clear answer Is the audio to blame here? I know that there should have been guidelines by post as to audio framerate settings but there weren't. Just wondering what I can do…
Last reply by Marc Wielage, -
- 13 replies
- 3.8k views
I'd like to know when circumstance allows the microphone to be in frame. When it's acceptable, when it's not. I've heard of productions sometimes not only allowing the microphone, but even the boom operators body to be in the frame. I just did a commercial with an all white background that had c-stands with tape and markers on the walls for SFX. The mixer was told not to get the mic into the frame. This could've been for a good reason or because the director and others didn't understand how it's used/worked with. What I know now is that the microphone, or any object that will be taken out in post cannot pass through an actor or object on camera. Correct me if i'm wro…
Last reply by Ryan Farber, -
- 0 replies
- 806 views
CEDAR Audio and their USA representatives, Independent audio asked me to get in touch to invite you to a special event they are hosting together. CEDAR Audio and VK Post, Vintage King's new post production and sound for picture division are presenting an informal Audio Restoration seminar at Vintage King's stunning new Los Angeles showroom on Tuesday 27th November from 7pm to 9pm. The event will be a great opportunity to catch up with the latest techniques in Audio Restoration and de-noising tools, and network with other industry professionals. If you haven't visited VK LA yet, it's also a great opportunity to check out our new showroom and learn more about …
Last reply by studiomprd, -
- 0 replies
- 631 views
CEDAR Audio and their USA representatives, Independent audio asked me to get in touch to invite you to a special event they are hosting together. sorry, duplicate post...
Last reply by studiomprd, -
- 6 replies
- 4.9k views
Hello Gurus, I recently invested in five Adam A3X monitors and a Sub7 to build my 5.1 monitoring setup. Given that Sub7 does not have a dedicated connection for a LFE input, I am looking for some suggestions, and advice on how I can configure these monitors as a 5.1 surround setup. I use the UAD Apollo as my main interface to mix in the box.
Last reply by Mark Orusa, -
- 2 replies
- 1.5k views
Hi, I accidentally managed to record a whole day's shoot with my Nomad set on frame rate 30, while the picture is 25. Now post is reporting problems with it, I don't know if it's an assistant or not, but somehow I assumed they would know how to deal with it and it seems they don't. What's the easiest way/software to change the frame rate on the TC? Apparently they're using Final Cut Pro. Thanks!
Last reply by Simon Hayter, -
- 12 replies
- 2.5k views
Ever since our media manager switched to Avid MC6, he has been having issues with my 744T's filenames. Basically, when he try to import into Avid, the filenames gets truncated and the metadata is completely absent. The files worked perfectly fine in MC 5.5 before. My 744T has the latest firmware. I have called Sound Devices and they are not aware of this issue. I'm pretty sure this is an Avid issue. However, that doesn't explain the fact that the files from my Fusion imports perfectly. I have tried to change the separators, renaming with different format, ommitting any special characters in the fie names on the 744T. It still doen't import properly into Avid. Any…
Last reply by DunkleFish, -
- 11 replies
- 3.3k views
I was having dinner with a european producer last night and he was talking about a 2-mic proximity ADR technique? I have never heard of such a thing. Been looping dialogue for years, and sometimes of course the actor may distance himself from the mic for a proximity effect, but 2 spaced mics on a sound stage for a single actor? Can anyone give me some details on this, or was this guy talking through his hat? thx Commpost
Last reply by Mobilemike, -
- 16 replies
- 2.6k views
" A pair of associate professors and a graduate student from Cornell University, however, have developed a method for synthesizing the sound of moving fabrics -- such as rustling clothes -- for use in animations, and thus, potentially film."
Last reply by Marc Wielage, -
- 3 replies
- 980 views
http://www.prismsoun...a/lyra_home.php
Last reply by Philip Perkins, -
- 1 reply
- 1.1k views
Finally, there is no need to second guess your sample-peak limiter time and time again, or deliberately increase headroom to avoid a downstream problem. Now you can simply dial in your True-peak limit and let ISL take care of the rest. ISL is a transparent look-ahead limiter designed to allow you to get on with creative audio production while it takes care of True-peak compliance for you. ISL uses the standardised True-Peak algorithms of ITU-R B.S. 1770 and related standards and is suitable for the control of audio for Post Production and Broadcast applications. True Peak limiting can also be used to ensure that down-stream Codecs (mp3, AAC etc.) do not introduc…
Last reply by Philip Perkins, -
- 31 replies
- 2.4k views
I am running PT8, M-Powered. When I open a new project, import audio files and then play back the recorded audio files all I hear is what sounds like a small two-stroke gas motor. I have tried opening various files on different new projects and this happens to all of them. It does not matter if I import with or without video or if I use a template or not. However if I open an old project the audio plays just fine. Does anyone have any idea what is causing this? I have a short project that i have to edit for this week and I am in a bind if I cannot use ProTools. I would just upgrade to PT10 but I am in the middle of a longer project and do not want to…
Last reply by Robert Buncher, -
- 46 replies
- 5.7k views
Matthias asked this question elsewhere, and I thought it was a complex enough topic that it deserved its own separate answer. I have dealt with this before in post, literally with neophyte studio execs who go crazy when they can't hear off-camera dialog to "put the scene in context" (quote/unquote). In post situations, I'll tell them, "hey, don't worry -- you're covered on about 19 takes of a close-up of the other person," but they're still a little rattled. In TV, what I've generally seen is that they'll make an attempt to at least get the off-camera actor on a wire, then get the on-screen actor on a boom. It's a good question as to which piece of dialog gets i…
Last reply by taylormadeaudio, -
- 16 replies
- 6.5k views
Hi guys, I have an editor I work with often, he wants to be able to playback 5.1 mixes, I suggested pro tools with dv toolkit, but he is looking for a cheaper solution, since it's only for playback. Any ideas, I know you can get pci cards for 5.1, but gave no experience with these...any ideas or experiences?
Last reply by Ashok Vardhan, -
- 23 replies
- 3k views
Hello all, seeking for a little advice on reality stuff: I'm currently editing a documentary I shot over the course of the last 1.5 yrs., my first own project with funding, we had a little team, but I also had to do some one-man-band stuff, with the result of: either sound or picture are good, haha - but I'm positive about the coverage, 35 hrs of logged material, Interview transcripts are done, currently in the very early editing stages of the "easier" scenes. Getting along decently. One of my headaches is, of course... sound. But this time the other way around, as in: On the shorts I usually do audio post for, I try and go by the book (namely Purcell's) as much as I…
Last reply by studiomprd, -
- 22 replies
- 1.7k views
Hello All, The DOP wants to test shoot a special effect in camera by shooting at several different frame rates 18, 15 and 12.5 f.p.s. What is unusual for me is that I have been requested to record the dialogue beforehand and replay the dialogue also at 18, 15 and 12.5 f.p.s. Essentially the actors will be miming to their own playback off speed. The DOP is going for the jilted jittery effect as the scene is a flash back. My problem is playing back the dialogue at the different frame rate. Protools LE 6.2.2 is the version I have and I can use Protools very basically to set up sessions, record and playback. If I was to use Protools to change the frame rates, the …
Last reply by Marc Wielage, -
- 4 replies
- 1k views
And I thought I was going to pass out.
Last reply by deep owl, -
- 10 replies
- 1.3k views
I am getting a whine in my monitor speakers that seems to be related to my video card use. It persists even if screen monitor is turned off. Got worse with new Dell 30inch. Pulled USB cords to make sure it wasn't bleeding there. Also plugged in external USB Sound board and with no change. It will stop momentarily when I change window layout and then return. Also will pitch change when mouse is used. Thoughts??? I am getting grumpy!!
Last reply by Reid, -
- 5 replies
- 1k views
Hi, I was recording interviews for transcription on a 552. My SD card sh!t the bed during the interviews. I now have to figure out how to make the video files (probably mxf into pro res into ) Super small - or export audio files out of a timeline (with timecode) to get files to a transcription house that they can use. Anybody have experience doing this? It's panasonic p2 files avc intra 100, 1080, 24p. I'd obviously like to find the fastest way to pull this off. I have fcpX and a good macbook pro. John
Last reply by Marc Wielage, -
- 22 replies
- 2.1k views
Hello everyone, First-time topic! Pretty new member. Not sure if this is the right forum to post this in, but I thought you guys could point me in the right direction at the least (for example, would gearslutz be better? I'm not too aware of post-production sites). Yes I know everybody has this pipe dream of using phase inversion to fix things, but that doesn't mean we can't try! So, I'm doing sound for a low-budget reality show. Yes, it's trouble. They wanted me to record sound in a noisy nightclub. Both boom and lavs pick up quite a lot of ambient noise from the DJ blaring the usual radio standards. I am aware of noise reduction tools su…
Last reply by Marc Wielage, -
- 1 follower
- 43 replies
- 6k views
Hey guys, So, I'm on day 14/15 on this Indy feature that we've been shooting on the Canon C300. Apparently, there was a miss-communication with me and the camera department on the first day, and this whole time we've been recording 24p video while I have been using 23.97 for my Nomad-6. Simple set up with a dumbslate, the editors assistant said that doing the typical ".1%" speed up is not doing the trick to fix the drifting of the sound sync. Editing is being done in FCP. Has anyone figured out tips or tricks for working with this? Plug ins, programs, ect? Thank you very much, -W
Last reply by Jack Norflus, -
- 12 replies
- 1.7k views
Hey all, I'm about to start work on a small documentary. I'm doing a preliminary mix so the producer can send it out to a minor festival. I'm nearly positive that they will do some revisions based on their feedback, which means my original mix will be out of whack with whatever newer version they come up with. How do you all deal with large changes? How do you maintain what you've already done and integrate that into the new edit? It seems to me that you'd have to start from scratch. I'm using Pro Tools v8. Sorry if this seems like an elementary question, but I've never had to deal with wholesale changes, only minor substitutions here and there. Thanks in adva…
Last reply by Bondelev, -
- 31 replies
- 3.5k views
I've been lucky to be starting audio post on my first feature (very low budget), which is just over 80mins. It is a drama between three main characters, but there's a few more. I'm already over a month into it and I've already been delayed significantly by ADR editing, although that is part of the process. Just looking for some perspective on how much time to give a project, when the Director/Producer's one "sound designer" (me) is likened to a whole audio-post department. Tell me if this is not unusual? Firstly I know there are many variables that will be affecting the size of sound post teams. Budget and work load are the main ones. In this case, it is …
Last reply by studiomprd, -
- 1 follower
- 94 replies
- 12.1k views
I saw the other thread, yes, but I think this is the more appropriate place to put this. There are few different ways you need to mix audio for post depending on the medium and destination you will be outputting to. For TV, you will be provided a spec sheet of what you output peaks should be maxed at. For commercials, usually it is based on a maximum LEQ, but I think that has changed of recently (haven't done post on a commercial in while.) film and theater release is a whole different animal. There is no "standard" peak level. When doing post audio for theater release the most important thing is to have a properly calibrated system. the proper cali…
Last reply by cinetj, -
- 16 replies
- 1.3k views
Just wondering, if I upgrade from Protools 8 to Protools10 in the middle of a project, will I be able to import that project into Protools 10 and finish it there? It is a thirty+ minute film with a video track and lots of audio tracks. I have most of the dialogue edit completed but have everything else to do yet. Is this possible? Is it a good or bad idea? Thanks Bob
Last reply by Marc Wielage,