The Post Place
the section for everything relating to Post-Production
350 topics in this forum
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For those that use them, how are you guys sourcing your multichannel ambiences, atmospheres and room tones? Do you build them from stereo recordings or do you use original multichannel recordings that match the target format?
Last reply by TVPostSound, -
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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, -
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Is there a shortcut in pt that exists? I found a clever apple script that a post guy made but unfortunately it gets hung up. I was considering building my own in automator. Basically I want to bring in a ton of production sound files spotted to orignal time stamps when i usually do this manually one by one
Last reply by osa, -
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Hey all. I had a beautiful Gretch-Ken Industries sound booth, set up for a couple years, to work on a long term project. The booth is now broken down into it's 12 sections and in a storage facility in Brooklyn. I'd love to find a new place to set it up, but it is looking like selling it is my only option. Does anyone know of a reasonable place to post a sound booth for sale, other than CL? Have any of you had luck selling something like this on Ebay? The booth is 8x8 by 7.2 high, active ventilation, with two windows (one in the door) double insulated. Beautifully designed and easily transportable (fits in a cargo van) Please share your advice / …
Last reply by Matt Geldof, -
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So I’m being requested from dailies to work in pull up 48.048 / 24fps since the DP wants to shoot @ true 24fps to reduce the possibility of flicker with lighting set ups. We are not shooting on film and footage will be pulled down 1% along with sound to be edited and broadcasted at 23.98. The dailies company said this is somehow common with Canadian DP’s who feel this is a solution to mitigate flicker issues. So, The dailies company wants to modify my sound rolls and sample rate convert my Cantar X3 files back down with SD’s Wave agent before hitting editorial to get it all back down to 23.976 and assures me it will be seamless and not affect sound. What’s odd to me is …
Last reply by MMS Inc, -
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http://www.reddit.com/r/TheWire/comments/1qn6ff/i_was_a_sound_editor_on_the_wire_every_episode/ I found this really interesting and useful. Hope you folks do too!
Last reply by cory, -
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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, -
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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, -
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A good value? I know Pro Tools is the defacto standard but I'm not looking to do this on a competitive level. http://www.sonycreativesoftware.com/audiomastersuite?keycode=64873
Last reply by Jay Rose, -
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Trying to sync audio with video in FCP7. Video is at 50p. Timecode on audio is at 25. When I try to merge them, it works, but only partially. Like half. I know fcp is picky with timecode and length of audio files be displayed wrong because of the different timecodes in the timeline. When I set the audio file's timecode to be 50 fps, via modify-timecode, what it does is it doubles the amount of frames within the same time frame. So what in 25 fps was TC 2:01:01:24 is now 01:01:01:49 when it should still be ending with frame 24 and continue up. Sorry if this is confusing. I'll add screenshots later. What this means is that nothing really happens. Audio in the merg…
Last reply by Olle Sjostrom, -
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I posted this in the computer section also, I hope that's okay, if not, please delete. I have a question for the post production / computer experts here. Our facility runs two ProTools HDX suites for audio post for Television. We mix in stereo only. The audio systems used to be synched to house black with an AVID Sync HD and the video satellite (AVID Media Composer with Mojo DX I/O) is also synched to house black . Since our workflow is entirely file based now I’m not sure if I still need to use the Sync HD and here’s the reason why I’m asking. We bought an IZ Technologies RADAR Studio for our A suite about 2 years ago. It replaced an old MacPro. Tha…
Last reply by Werner Althaus, -
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Hi everyone just a quick question: I dont have enough money to fully set up a surround sound workstation so currently I am making do with my two genelecs and headphones, So I have been looking into Waves NX and also Flux Ircam HEar v3 as a way to send out rough 5.1 mixes, just using headphones, has anybody had experience with either one and if so is it good enough to mix thoroughly or is it only a good guide, I would like to know which is best and if there are any other plugins I should be aware of as well. Thanks.
Last reply by DafyddM, -
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Hey Everybody, Technical question: I’ve been asked to provide ProTools music playback for a video that will be filmed at high speed (47.952 fps) and then ultimately played back (or shown on TV) at 23.976 fps. To achieve this. the talent will be lip syncing with the 2x music, so that when it’s slowed down the lip movement will appear normal. My question is this: Is there any way for me to be sending timecode to the Location Sound Mixer as we are filming? ProTools doesn’t offer fps of anything higher than 30, and nor does the Location Sound Mixer’s recorder. Thanks
Last reply by TVPostSound, -
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I know this is probably old hat to most of you guys around here, but I got my first on screen credit as a sound designer. The film gets a Blu-ray release on Tuesday. I have a few acting credits and soundtrack credits from back in the day. But I have never received a technical credit. I am chuffed.
Last reply by ALVIN, -
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Anyone have luck with ADX Trax Pro by Audionamix for isolating dialog?I have some work coming up that requires extraction from a premixed source. Apparently the originals were written over with background music and lost forever. Brilliant, I know...I told them I'd see what I can do. Usually use some spectral editing for short stuff but this app looks promising for working with larger material.
Last reply by Jeremiah Sheets, -
- 1 follower
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A six-minute story on National Public Radio today: The Woman Behind The Oscar-Nominated Sound Of 'Unbroken' FEBRUARY 21, 2015 4:06 PM ET Like many of the "technical" Academy Awards, the sound editing category has long been dominated by men. But a woman was nominated this year — just the fifth woman ever in the 30 or so years the sound editing award has been a competitive contest. She's nominated for the WWII biopic Unbroken, based on the best-selling biography of Louis Zamperini, the Olympic runner and prisoner of war who turned to alcoholism after the war and eventually became a born-again Christian. (She shares the nomination with her co-e…
Last reply by Philip Perkins, -
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Hello, I need to export a Pro Res quicktime with 5.1 and 2.0 mixes from Premiere. More precisely 8 channels of audio, the first 6 being the 5.1 mix, and the last 2 being the LT/RT. Premiere has a few different options to do this and I'm trying to figure out which is correct: Option 1 - settings In the image above, one can select either "mono" or "discrete" for the channel layout, which one should I select? A quick export with both settings and a get info on each quicktime file shows the following Mono Selected Discrete selected Option 2 - set…
Last reply by Brian William, -
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OS - Windows 10 64 DAW - Reaper interface - Mix Pre 6 This is not a real review, I don't do post audio professionally, and will only use the Mix Pre for 1-2 input recordings. I haven't seen much of a discussion about the Mix Pre as an interface so figured I'd start one here to see what other people thought. I bought a Mix-Pre 6 a couple months ago to use as a back-up field recorder/small gear package for simple interview/small budget stuff when the full Nomad bag isn't necessary. I haven't used it for that purpose more than a few times, so I connected it to my PC and decided to give it a go as an interface while I don't need it, replaci…
Last reply by Allen Rowand, -
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Little AlterBoy https://www.soundtoys.com/sxsw2015/&rc=287-3986-936
Last reply by dfisk, -
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Very good and simple tutorials from Jose Luis Diaz for dialogue editing. I recommend also the book "Dialogue Editing for Motion Pictures: A Guide to the Invisible Art" from John Purcell (2nd edition). Dialogue Editing 1: Organization http://www.youtube.com/watch?v=zDwQCO7v1ME Dialogue Editing 2: Basic Transitions http://youtu.be/9MqSD7E5K7M Dialogue Editing 3: Using Reverse Room Tone http://youtu.be/Jrfb6MGJHpc Dialogue Editing 4: Aligning Shots http://youtu.be/RKwf5UWKh2c Dialogue Editing 5: The Telephone Split http://youtu.be/SqHKaPo2tY8
Last reply by johngooch, -
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I recorded two lavs and one boom to a Zoom F8 in a remote location. I didn't notice any audio problems when monitoring. On the files, including each iso, there is a 'warble'. It is on some of the tracks, and not others, though set up and location was the same during short interviews. I say this because i don't think the interference came from the microphones, i think it happened in the recorder? I would like to try and fix it, the spectrum analyzer shows deeper dropout from the 'warble' or 'modulated' tracks. I don't know how to research it because i'm not what happened or what to call it. Linden Intermodulated Boom .mp3
Last reply by canyouhearmenow, -
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Hi there, I am pretty new to both post sound and Pro Tools software with pretty low-level/amateur knowledge of both. I have a film that has been edited in the latest version of Premiere with all the linked audio files attached. I tried to export both an OMF and an AAF however I can not get everything to transfer over correctly. This link provides what I am experiencing. Scroll down to Issue 4: "When an AAF links to source media, Premiere points to multi-channel audio files, which Pro Tools doesn’t support." Everything transfers over in sync and in the correct placements, but nothing is linked, all the clips are blank, and I am not able to re-link any of the o…
Last reply by mfranken, -
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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, -
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- 494 views
Hi, being on the budget and looking for a portable device I'm willing to buy a zoom h3-vr, it have the feature to create a file ready for 5.1 post production. I'm not interested in VR at the moment. All I need from the recorder is to take advantage of portability (store in my pocket even if maybe a bit bulky for my needs) to create a surround database of soundscapes to use for theatre short movies, documentaries. I often have been in places where I wanted to record by I couldn't take with me the full equipment. do you think it's a good idea? Did you ever tested those files you can tell me more about usability for theatres? this is a quick official video ta…
Last reply by Dan Wake, -
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I recorded a 42 Track WavePoly file on a Pix970 but when post-production tries to import it into AVID it all show as routed to A-1 instead of A1, A2, A3..... and so forth. Any ideas what may be doing this?
Last reply by Philip Perkins,
