.png.279748a58a2b862b7aa5f3b84126e232.png)
The Post Place
the section for everything relating to Post-Production
350 topics in this forum
-
- 3 replies
- 1.7k views
Hey does anyone the basic rates of doing post - production for a feature film? like how much each person on the sound team typically gets paid?
Last reply by Henchman, -
- 10 replies
- 2.6k views
There is a scene in Batman V Superman at Lois Lane's apartment bathroom. Noticed underneath dialogue there was taxi car horn noise. Was just checking to see if there was a discussion on that decision. Whoever made that choice really set the scene really well. You didn't have to say it was Metropolis, it sounded just like New York. Was there any back and forth about laying more noise under dialogue? Or was that one of many honks from on location where more noise needed to be added to match unavoidable set issues?
Last reply by cmgoodin, -
- 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, -
- 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, -
- 0 replies
- 751 views
I'm sure a lot of people saw this. Pretty interesting acquisition. I'm wondering what the direction they will be going with this... https://www.blackmagicdesign.com/media/release/20160909-02 Sent from my iPhone using Tapatalk Pro
Last reply by myke2241, -
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, -
- 2 followers
- 15 replies
- 3.1k views
Local 695 held a seminar at Kingsoundworks in March, 2015. "Bridging the Gap from Production Audio to Post" discusses many of the topics we have been discussing here regarding metadata and also the issue of whether we need a mix or not. Local 695 has graciously made this video available to JWSOUND members. Watch on YouTube also
Last reply by Henchman, -
- 3 replies
- 1.5k 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, -
- 4 replies
- 1.5k 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
- 16 replies
- 3.6k views
Howdy Gents, So I have a new shiny S3 console and am re-calibrating my speakers for film reference? (85 C spl). So I mapped 6 tracks in ProTools to discreet channels for the 5.1 field and inserted Pro Tools tone generator, set it to pink noise to start the process. By default, the tone generator sets the tone level to -20db (for headroom?). But if I truly want to work at the 85db reference level, shouldn't I set the tone generator to 0? By doing this wouldn't that more accurately reflect the meximum 85spl I need to dial my monitors to? Am I thinking about this the wrong way? Thanks for any guidance you can give me! John
Last reply by minister, -
- 3 followers
- 3 replies
- 483 views
It's 2024 and I can't revive any of our old DA-88 machines that sat in storage since 2000. Our engineering department no longer works on tape machines so I'm out of luck there. I have some tapes that need digitizing but I can't decide where to send them for digitizing. Any recommendations? Thanks.
Last reply by Werner Althaus, -
- 8 replies
- 1.3k views
Hello everyone, I have a very short audio clip from my wedding that sounds like garbage. It was recorded back in 2005 on a non HD camera with who knows what kind of mic. I'm putting a video together for my wife's bday tomorrow and was hoping someone can help me fix the audio. The audio is from the onboard mic that the video guy recorded. It's at my reception so the DJ's announcement was too loud for his cheapo mic to handle, so the audio clips. Is this something that can be salvaged? The audio clip is 20 seconds long. Any help is appreciated.
Last reply by Michael Miramontes, -
- 13 replies
- 2.9k views
Hey Everyone, So I've been reading a lot of books of late about all the "below the line" operations, including Both editions of Purcell's dialog editing books (the 2nd edition is quite insightful about more specialized tasks like BNR, ADR, and treating dialog to give it that extra pop), Rich Tozzoli's Protools Surround Mixing, Holman's Surround Sound But final layback is still a black box mystery to me so I'd like to read more about the techniques they utilize. Can anyone recommend a good practical guide to rerecord mixing? Thanks!
Last reply by studiomprd, -
- 8 replies
- 2.3k 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, -
- 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, -
- 5 replies
- 2k views
Hey guys, Just wondering how different people charge for Post Production services? (And Also so Musical Composing services) (At home people, projects studios, studios, etc.) Anybody do a black$/min fee? A general estimated based on the amount of time you estimate it will take? Hourly work? Think it is better to separate the music and audio component on the invoice? Any input would be appreciated Thanks Guys
Last reply by Marc Wielage, -
- 3 replies
- 1.7k views
I there any good options for cloud-based mixing/audio post like what Frame.io is for video post production? I have some collaborative projects and it would be good to be able to work with other mixers online.
Last reply by chinpou, -
- 1 follower
- 5 replies
- 4.6k views
Hello everyone, I'm doing a tv series with this workflow: recording iso tracks with Nomad; sending a mono scratch track to each camera; jamming timecode from Nomad to each camera, Free Run, TOD. At first, the mono scratch tracks weren't part of the plan, but post asked me if this was possible since they preferred to edit the offline version of the show without having to sync the iso tracks from my Nomad. They said that they could sync the scratch track wit the Nomad's iso tracks very easily using timecode afterwards. I thought that they would use somekind of conform plug in on a Final Cut like Pyramix's re-conform tool but the head at post told me that they plan…
Last reply by cinetj, -
- 1 follower
- 3 replies
- 2.5k views
Hi I´m having some difficulties conforming original audio from an EDL made by Premier Pro CC 2017. I´m not to familiar with Premier so this is really a question; When exporting a EDL in pp what is the difference between ticking in the "use sound roll/sound timecode" box and not ticking? I know that I get the sound rolls into the EDL, but the source timecode is not the same between the two options, and the edit is made from a proxy, so the timecode of the proxy audio and the proxy video should be the same? The point is that I do get correct source TC i/o times when I uncheck the "use sound roll/sound timecode" box, but then I don´t…
Last reply by Bubu, -
- 1 follower
- 15 replies
- 2k views
Hey all. So I was planning on editing the video that was shot at the Atlanta Sound Mixers gathering into stuff that people could see. I got the drives today. The footage was shot on a Sony XDCam (by Chris Mills...correct me if I'm wrong, Chris). I do all my editing in Final Cut X. I can't even play the video back in Quicktime, and when I import the video into Final Cut, nothing plays. Does anyone know of a quick and free way to convert this video? I don't have a lot of time to mess around with this. I was planning on just importing the video and chopping up each presentation as it's own file, throw an little intro/outro title, and export. Right now I'm …
Last reply by Christopher Mills, -
- 1 reply
- 968 views
If one has a flattened quicktime file and wants to create a DVD with a 5.1 mix from it, using compressor or adobe media encoder. What does that flattened .mov file need to have audio wise? If it has 6 discrete channels, can I then take that, and create a 5.1 mix with one of the above programs? Or does the MOV file need to be 5.1 from the start?
Last reply by Jay Rose, -
- 0 replies
- 955 views
Last reply by Joe Riggs, -
How do YOU deal with them?
Last reply by TVPostSound, -
- 1 follower
- 9 replies
- 1.9k 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, -
- 0 replies
- 530 views
This is going back in time so any help will be appreciated. A friend of mine asked me to transfer some dat tapes into non linear digital form so he can edit on a computer. The original dat tapes were recorded on a Fostex pd4 at 48Khz 30 non drop. I am planning on using my old Pd4 and going digital out (110 ohm xlr) to digital in on a sound devices 664. I will send the timecode out from the Fostex to time code in on the 664. My question is do I just transfer from one deck to the other at 48kHz and leave the file to be adjusted on the post production computer? Or should I do something else during the transfer. The picture was shot on super 16 and the negative was transfer…
Last reply by Steve Rogers,
