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The Post Place
the section for everything relating to Post-Production
350 topics in this forum
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- 14 replies
- 2.6k views
Has anyone heard of this software from Adobe? The demos sound too good to be true. I'm with Rainn Wilson, "I don't believe it." Mark O.
Last reply by Marc Wielage, -
- 34 replies
- 3.1k views
End of an era maybe... "Scott Morris, the head of Adobe’s Creative cloud and creative suite team told me last week, this will be the only way to get access to its tools. The company will continue to sell CS6 for the time being, but it’s not clear for how long." http://techcrunch.com/2013/05/06/adobe-goes-all-in-with-subscription-based-creative-cloud-will-stop-selling-regular-cs-licenses-shrink-wrapped-boxes/
Last reply by John Blankenship, -
- 1 follower
- 6 replies
- 3.7k views
Anyone know a good poly wav splitter that works on large files (over 4G)? I usually just use Sound Device's WaveAgent to split poly files, but I just kicked out a 5.1 mix for a feature in a poly wave file and it comes in at about 5G. Wave Agent is not recognizing this and I presume it's because of some 4G file size limit. (I think the file itself is O.K. I can open it up and listen in Reaper. And Wave Agent is still O.K. because it's splitting my smaller 5.1 trailers and stereo mix files just fine.) I can go back into my DAW and set it up to output each channel mono and re-render, but I would love to find something as handy as Wave Agent to just split the file I'v…
Last reply by Benjamin Gandy, -
- 24 replies
- 3.1k views
So when I do post audio I usually find that what chair I sit in is usually more important than probably what program I'm using. If I don't feel comfortable and in the right posture then I find that I'm getting up more and taking more breaks and can barely hop back in the seat. I'm 6'7 so for me I'd probably need an orthotics and chiropractor examine my work space to fit it for me...luckily I don't do as much post these days. One of my first jobs I was in the saddle for several hours every day and realized that the padded fold out chair I'd been sitting on was actually brusing my lower ribs. It was such a weird feeling I thought I had kidney failure or something, but low a…
Last reply by Rich Reilly, -
- 39 replies
- 4.3k views
Hello there, I currently work a full time job creating 5 M&E tracks a week. (1 a day) for a Soap Opera. I am assuming that what i earn is not much and i rather not say. Yet i do wonder how much everyone else earns because when I leave i want to let them know an estimate of what others earn in this side of post. Ambient, Footsteps, hard effects, foley, etc and final mix are all elements that take time and effort. I will say that my starting hourly rate is the the highest they stop paying the person before me after 3 years of being employed. Any feedback is greatly appreciated. Sent from my iPhone using Tapatalk
Last reply by mbois, -
- 3 replies
- 1.1k views
I was looking for something like this in a recent thread but wasn't successful. Now this might be interesting in the quest to play surround content to users with stereo headphones. Has it's limitations (software needs to be embedded on the consumer's system) but sounds interesting. http://www.dts.com/professionals/sound-technologies/headphonex.aspx DTS Headphone:X™ DTS Headphone:X is a Home Theater in your Pocket (HTiP) solution for mobile audio that faithfully reproduces the home theater surround sound experience using a wide variety of simple headphones. It simulates the three-dimensional multichannel audio environment of a movie's original mixing stage, cali…
Last reply by ccsnd, -
- 1 follower
- 88 replies
- 9.5k views
What do you all recommend as a basic post-sound setup for handling simpler media projects? I primarily work as a production sound mixer, but I'd like to add sweetening and some sound design to my services when I help out student filmmakers or do web content. And I also just want to learn more about the process, and would prefer to stick with a DAW like ProTools since it seems to be such an industry standard. Bare in mind that I do not have a studio and was planning to do this work from home with my 15" MacBook Pro (Mac OS X version 10.7.4; 2.4 GHz Intel Core i5; 4GB 1333 MHz DDR3 memory), a good set of headphones, and a zoom h4n for recording ambience and effects. …
Last reply by Winter, -
- 12 replies
- 3.6k views
Hi all, So, I'm editing VO for some instruction industrials for the web. I'm using PT10 native to fix the dialog (removing ums, repeats, lip smacks, and such, but it's too cumbersome to actually bounce to disk for each of these regions (being that native does it in realtime only). So I've been consolidating the region, and the resulting file that shows up in the project's audio files folder is what I wind up importing into my video NLE. Does anyone know: is the quality lower on consolidated regions or the same as when you bounce? I don't think it necessarily matters for this application but it got me wondering about my feature film mixes and consoli…
Last reply by inf0l, -
- 2 followers
- 12 replies
- 2.2k views
Really interesting doc sound design talk from Peter Albrechtsen http://vimeo.com/60171257
Last reply by atheisticmystic, -
- 10 replies
- 994 views
Can anyone recommend a library resource for REAL 1920's or before jazz recordings that might be licensed for a movie I am working on? (Not contemporary recordings -- i want low fidelity 78rpm sound.) thx Commpost
Last reply by Marc Wielage, -
- 15 replies
- 3k views
Do you guys have any favorite Altiverb tweaks you do in the dialog mix? I've been working on this feature and use it quite a big to help get the dialog cuts to blend better as well as giving it a better, more cinematic feel within the room. But I always wonder if there's something I could be doing to help make it even better so I thought I'd ask people smarter than me! Thanks for any advice you can share! John
Last reply by jgbsound, -
- 12 replies
- 2k views
Considering LOW BUDGET feature and documentary film making, what are the main differences considering post and/or audio post specifically? I'm wondering specifically about the distribution process. Does M&E take place in doc's as well? I have post lo budget feature experience but not as much in the doc realm. So differences in: Dialogue edit (obviously no ADR) SFX (Most PFX I assume) Design(Mostly PFX again.) M&E and then to distribution. Just wondering what requirements are different between the two....like does Germany for example accept a doc on different quality control requirements than a feature...I assume it does, but I have no idea. What iss…
Last reply by Philip Perkins, -
- 12 replies
- 2.2k views
Hello everybody, Part of my job is doing post mixing for documentaries. I've already own the Waves X bundles, Z noize and Isotope RX advanced. I now mainly use Isotope RX and from time to the waves X bundles. I wanted to know if any of you have tried or use the waves noise suppressor (WNS) and if you think that it would be a good addition to my restoration plugins? by the way I am not a big fan of Z noise so I am looking for something more in the Izotope denoise side. Any suggestions are welcome.
Last reply by Petros Kolyvas, -
- 9 replies
- 1.3k views
EDIT: *Sigh* again.
Last reply by studiomprd, -
- 18 replies
- 3.5k views
So I have a project coming up in a few months (probably more like 6), that will require at least a 5.1 surround mix. I have Protools 10 native with the Complete Production Toolkit unlocked. I want to be able to encode the data stream for a blu ray and for a DVD as well. I see a bunch of encoders such as DTS encoder, Neyrinck Soundcode for DTS, Neyrinck Soundcode for Dolby E, etc. Bear in mind I know very little about the plugin I need to select (I have only done limited surround mixing in my past. Thanks for any suggestions you can give me.
Last reply by jgbsound, -
- 0 replies
- 584 views
http://www.hollywoodreporter.com/news/oscar-sound-editing-picks-by-423487
Last reply by John Blankenship, -
- 25 replies
- 2.4k views
Hi, I'm a boom operator in L.A. and post sound is outside of my experience. A friend in NYC recently shot a 20 minute short for about $30k. She was able to get an excellent cast of well known NYC television and theater actors and got a good DP who brought his crew on so things went well on the 3-4 day shoot which was in one location. The picture is locked and now she needs to post the sound. She had budgeted $1000 and asked me if it was possible to get an experienced person for that budget. Frankly I have no idea. Any advice that I can pass on to her would be much appreciated. Thanks, Richard Bullock
Last reply by Henchman, -
- 1 follower
- 11 replies
- 1.7k views
Hi Folks, I need to recommend a mixing studio in LA ( but might also work in NY too) for a prod company that I'm gonna be doing the sound design this time. Can you guys recommend me a nice place if possible with a DFC console that is affordable for an European (witch means most of the times the same ) kind of a low budget movie. Thanks!! Jordi Cirbian, CAS
Last reply by myke2241, -
- 6 replies
- 1.2k views
Hi, folks! I need to record a talent in Chicago in February, and I've been inquiring with some studios there - the rates are all over the place: from $350 for a well-known post place, to $100 for a possibly hole-in-the-wall unknown studio. I need a pretty standard ADR setup, where the talent can view and listen to the source video, while recording his voice. It doesn't need to be fancy, as there won't be a client or a producer, and we don't need ISDN or other services. Just a clean voice file, timed to video, sent to us in a mono .wav file. Ideally, the cost would be $200 per hour or less. If any of you has personal experience with a good, reputable studio who ca…
Last reply by Blas Kisic, -
Boom mixed with lav? Or just lav. From John Purcell's Dialogue Editing for Motion Pictures 1 2
by rb1138- 43 replies
- 18k views
Hey all, I just read John Purcell's book Dialogue Editing for Motion Pictures. I thought it was pretty solid. Good stuff. However, there was one thing he said that I thought was strange, only because I've heard differently elsewhere. He seemed to say to cut out all off-axis except for the primary microphone you choose. Use only "one track of room tone" at a time. This seems to indicate that you should eliminate boom mikes altogether if the signal to noise for the scene requires it. However! I've often heard you're supposed to mix them together for a more realistic representation. Also, isn't this how production mixers create their mixes? By mixing boom…
Last reply by Marc Wielage, -
- 22 replies
- 6.1k views
Howdy everyone, So I am working on a post project for a feature and I imported my AAF/OMF data from a file exported by Media Composer/Symphony (not sure which). The re-recorded ADR timing is out of sync so i was going to use elastic audio to stretch/compress the takes so they fit better to the movement of their mouths. So, I made separate ADR tracks and copied my ADR takes over to new tracks and tried to enable elastic audio. It gives me this message: Could not complete your request because an audio file on the playlist is unsupported for Elastic Audio Processing as it is read only... Any ideas on how to solve this problem? Any sug…
Last reply by dfisk, -
- 7 replies
- 3.3k views
I was posting just prior about importing from a AAF/OMF and the files were read-only so I fixed that issue (or I should say, you all helped me resolve that problem). Now I just realized that (after editing for awhile), the sync is drifting. What's bizarre about it is if I look at the video reference in Quicktime, within the inspector window, it says the frame rate is 23.98, playback also 23.98 So, I import it into protools, but protools claims it's true 24. The mixed down reference audio matches the video and stays in sync. However, when I import the AAF/OMF file, it claims it's 23.98, and all those tracks are fall out of sync. has anyone experi…
Last reply by jgbsound, -
- 8 replies
- 1.8k views
Hey all, I've started another topic quite recently, and I love the responses. But this is a more specific question. I've been doing some sound editing in Pro Tools, and been having some problems in trying to crossfade various shots. I can't seem to avoid pops and clicks. The room tone in question is a lot of tough indoor air conditioning/ventilation/central air kind of noise. In one scene, I attempted noise reduction and this seemed to make room tone much easier to both find and crossfade between different clips from different angles. But I don't think you're supposed to do these smoothing-outs after noise reduction? Ideally, it would go to a rerecording mixe…
Last reply by Johnny Karlsson, -
- 11 replies
- 2.2k views
So I just picked up a projectmix i/o for my studio and was wondering how others place their mixer in the perfect position so that they have easy access to the faders, buttons, and such. Any suggestions/pictures? I was thinking about an articulated arm or something that can swing in and out but I wondered how practical that might or might not be, soooo, I turned to the forum to see what others did to make it work better for themselves? Any and all suggestions would be very much appreciated! John (jgbsound) Oh and happy holidays to all!
Last reply by dfisk, -
- 1 follower
- 50 replies
- 4.5k views
Hey all, Still asking sound editing questions. Izotope generally works pretty well when the camera's farther away. But sometimes, especially in "close ups" (tight shots in tight spaces, so not telephoto), the red noise is quite loud. Izotope cannot really eliminate it. But the issue is really that it's present in the closeups but not in the wide shot. What should I do? Fill in red noise in the wide shot? I tried using Izotope in "multiple passes", but I don't think I know how this works. I just seem to add more artifacts. Are you supposed to do a new profile after you've reduced or keep reducing using the original profile. Also, is there a way to save noise…
Last reply by studiomprd,
