The Post Place
the section for everything relating to Post-Production
350 topics in this forum
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- 1 follower
- 11 replies
- 3.6k views
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, -
- 2 followers
- 19 replies
- 4.5k views
I'm looking for input on SFX/Music library software. Over the years I've created and collected thousands of sounds and composed over a hundred musical clips I'd like to collect and organize into a useable library. I've been trying out commercial solutions like Soundminer (currently trying the Mac HD demo) and Audiofinder (wow world's shortest demo) but have been dismayed by the software so far and am wondering what others use? For example, my time with SoundMiner has been abysmal. It seems that the basic HD product is nothing more than simple library utility. I can't collect sounds within the program and it has barely (if) any metadata editing capabilities. …
Last reply by Stef Albertyn, -
Should recording an Impulse Response during production be as standard as recording room tone? 1 2
by SBretzke- 1 follower
- 36 replies
- 5.8k views
As convolution reverbs become increasingly common and affordable, it seems this is where the future of post-sound mixing lies. With that in mind, should production sound mixers be integrating IR recording into their workflow? How many prod. sound mixers out there have already integrated impulse response recording into their workflow on-location, or have ever done it at all? How many post-prod. sound mixers out there wish there were more PSM's doing this? Do you use convolution reverb? Would you use it more if more recordings were provided? From what I've read around the web, it seems like convolution reverb is mostly just being used as …
Last reply by tom williams, -
- 18 replies
- 3.2k views
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, -
- 3 replies
- 1.6k views
I've been searching for a software company that had a product with the name, amp or phone in it. At the time it was a mac based / protools program Effects editor. Anyone have a clue ? Thanks. Mike
Last reply by mpsanos, -
- 5 replies
- 1.5k views
I've got two different soundbites from a short doc interview. I have attached them to this post. The programs I am using are Adobe Audition for the main edit and then I'll often pull individual pieces into Izotope RX 7. For the first one (TEVIN_366_Fire_Extracted), near the end of the soundbite, he says "...to just go and change my life and that's what I did." As he says "and that's what I did", there is an intense Rustle from the clothing on the lav mic that overwhelms what he's saying. Not sure if this is too far gone or salvageable at all. Then the 2nd one, (TEVIN_366_Nothing_Extracted), when he says "This is nothing.." there is an audible CLI…
Last reply by berniebeaudry, -
- 4 replies
- 1.4k views
I've been sound designing for many years now, as a hobby. I mostly use synths and also record ambient FX too. Does anyone know how this side of the industry works? If a television or film project needs some unique sound, whether it's ambient FX or synthesized, do they use outside contractors? Or do they just use their in house post team to do that?
Last reply by bleueblancrouge, -
- 4 followers
- 15 replies
- 2.2k 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, -
- 0 replies
- 786 views
Hey all, I'd like to have a custom, non-natural, SciFi'esque type of sound to be created for use on an upcoming student film I'm helping shoot/produce. Think the "sound" from The Vast of Night, as an example. I've never done anything like this before so I'm sort of lost as to what I should be specifically looking for with regards to the Sound Designer and what I should expect to pay. Could anyone offer any insights on a Sound Designer they'd recommend and how much I should expect to budget for this service (a ballpark figure would do for now). TIA for any time, help, advice! Cheers
Last reply by Ryan Williams, -
- 4 replies
- 1.4k views
Since all of my work consists of being in the field I have not delved into post sound. I was looking into sound editing programs where I can cut sound files while still retaining the original TC from the source file. Ex. I have audio files from a Zaxcom TRX900 with TC stamps and would like to edit those files while still keeping the original TC before I deliver them to my clients. The only program I heard of is Pro Tools that I believe can achieve this but is there others? Thanks in advance. Gabe
Last reply by Noah Timan, -
- 6 followers
- 80 replies
- 23.4k views
I am in the market for some new sound fx libraries and would love to hear from everyone what your favorite or go to libraries are. They can any type and any size, just which library you use the most and why.
Last reply by soundmanjohn, -
- 1 reply
- 2.1k views
Little AlterBoy https://www.soundtoys.com/sxsw2015/&rc=287-3986-936
Last reply by dfisk, -
- 1 follower
- 35 replies
- 5.9k views
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, -
- 23 replies
- 3.8k views
Does anyone know of a piece of software or plug in that allows you to edit audio using a spectral view rather than a waveform view?
Last reply by soundtrane, -
- 3 replies
- 1.1k views
A question for the gurus who know more than I. 1. A client sends me an OMF of a 30 second commercial and asks me to sweeten the audio and give him a mix. Not a problem....done this many times before. 2. He edited his mix in Premier and sent an OMF to me for audio work. I asked and received a reference video as well. I use ProTools. 3. One of his clips in the timeline was speeded up in Premier to account for some guy talking too slowly during filming. Nothing terrible and if he hadn't told me, I may not have known. 4. However...he included the original audio clip (sans video) and wanted me to use that audio instead of the one he speeded u…
Last reply by Mobilemike, -
- 1 follower
- 9 replies
- 2k 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, -
- 3 replies
- 1.2k views
I jumped in to help a small non profit with their documentary program that had audio problems. Mostly it needed to have the audio balanced between two on camera talents shot outdoors while demonstrating with small animals. Each talent was mic'd separately, but I received a stereo audio track where one was left channel and the other on the right. The project was done in Adobe Premiere which cannot change stereo to mono once edited into the timeline. There are a lot of edits, so recutting it was going to be huge. I tried a round trip to Adobe Audition and it appears the problem is the same there. I'm told Pro tools can handle this easily, but I don't have it or know it. …
Last reply by Larry Watts, -
Stereo Mix 1 2
by Den Nic- 1 follower
- 40 replies
- 5.9k views
Hey Guys, Just wondering, for those who are doing a stereo mix of booms/wireless and recording those two tracks, how often are those the tracks that post goes to? Do they use the stereo mix for the most part unless they need something specific? Or is the stereo mix just a guide for post production (And for IFBs) these days? Thanks!
Last reply by VASI, -
- 1 follower
- 8 replies
- 1.5k views
Hi, More and more colleagues sound recordists are using LCR stereo setup nowadays for wide ambient wild recordings, and many post-prod sound editor and re-mixer say that without the C they feel an "hole" in the middle. Being an ORTF setup (LR) long time fanatic I often argue that it depends how you choose to record the space you want to hear. I have tried it several times but always ended up listening to LR only as -mixed in a LR hearphone- wide spaces sound mushier. I found the C useful for proximity stereo recordings but for wide ambient I do not see the point. I know it is still an ongoing debate. What are your opinion on it, location sound or post-prod …
Last reply by Rick Reineke, -
- 1 follower
- 3 replies
- 975 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, -
- 1 reply
- 938 views
I have been using Ediload specifically using EDLs and EdiLoad to conform ProTools sessions. Everyone seems to be currently using Premiere which is an NLE that doesn’t have an option to “Subframe alignment to Broadcast Wav Start time.” ProTools places files on a sample level which can be up to 1 frame off with the guide track. Which can cause very minor sync issues and phasing with the guide track. This can obviously be fixed manually. But would love to have it batch corrected. Is there a way to batch correct this in ProTools?
Last reply by mfranken, -
- 2 replies
- 1.8k views
Here's a little article I wrote for postPerspective.com (view from a computer to use the flash widget) with a flash widget about the different aspects of sound design. Would love to know your thoughts, and also how I could improve it. http://postperspective.com/subtle-sounds-diary-sound-designer/
Last reply by cory, -
- 5 followers
- 45 replies
- 6.3k views
Hi everybody, the dialogue editor which is working in a movie I recorded using the Schoeps SCMIT (Output 1, Preset 1 non aggressive one) told me that it's impossible to phase it to wireless mics (Zaxcom + DPA4071). Has anybody else noticed same issues? I'm asking cause I'm trying to figure out if I got to service it. Thanx, Angelo.
Last reply by RadoStefanov, -
- 10 replies
- 3.5k views
Hello to all. I have six audio tracks ready mixing from Pro Tools. L, R, C, Ls, Rs, LFE. What programm use for encoding this files and create one file to put in DVD Architect 5.0? Thank you very much. Vasileios
Last reply by Rick Reineke, -
- 18 replies
- 3.4k 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,