The Post Place
the section for everything relating to Post-Production
350 topics in this forum
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- 0 replies
- 2k views
Sundance-winning film sound mixer reveals the power of dialog editing, sound design, and audio mixing. Click here for the video The 5 Five Steps of Audio Post Production: 2:20 Sound Editing 3:05 Spotting Session 3:37 Dialog Editing 7:03 Sound Design 11:08 Sound Mixing ----------------- Ugo Derouard is a Sound Designer & Supervising Sound Editor and has been successfully working in Hollywood since 2006. Over his career, Ugo has worked with A-List Directors and Music Composers, on Award-winning Films, TV Shows, Commercials and Documentaries since 2002. Ugo’s work as a Supervising Sound Editor and Sound Designer has been featured many …
Last reply by ThisGuyEdits, -
- 12 replies
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i have got a job where production is asked to assign members of cast to certain tracks, no problem then it reads " Channel 6- Float 1 Channel 7 - Float 2 " Could someone please enlighten me on floating Thanks Tom
Last reply by John Blankenship, -
- 2 replies
- 1.9k views
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, -
- 16 replies
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" 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, -
- 0 replies
- 584 views
http://www.hollywoodreporter.com/news/oscar-sound-editing-picks-by-423487
Last reply by John Blankenship, -
- 3 replies
- 1.5k views
Hi, I'm sound designer and want to present you my foley studio. We specialize in Foley recording for Film, TV series, animation, commercials, etc. Our team has 10 years of experience, so if you are interested - write me. You can see our studio, demo reel and contact information on my website http://www.foleywalkers.com/
Last reply by ArtemKWA, -
- 1 follower
- 88 replies
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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, -
- 3 replies
- 618 views
I have a director friend looking for a place in the states that does foreign language dubbing of movies, particularly french in this case. I thought someone here might know of a place or two. Thank you, Tom Backus CAS
Last reply by dr.sound, -
- 15 replies
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Doing post on a film and wanted to see if anyone has an forest/wood ambiences from upstate New York they would be willing to share? Can be day or night. I have many generic ambiences that will work fine, but thought it would be fun to use some specific to the area. Thanks!
Last reply by sepulchra, -
- 1 follower
- 3 replies
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I did a project this last week and they started first day with no timecode sync. To compound the problem the camera was set to 24 FPS and sound was set to 23.97... Looking to address the frame rate issue only in this thread. Any quick/cheap fixes? Batch processing? Public domain audio file converters? Thanks
Last reply by jpb2, -
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Hey Guys. Hope you are all well. This is Tim here from Sonniss. I just dropped by to let you all know that we are running a special 'Secret Santa' this year and I am inviting you all to take part... Why is it special? Because none of you have to buy anything and everyone gets free gifts! Christmas has always been my favorite time of year. It’s something that I look forward to, something I enjoy. So I really wanted to do something different this year at Sonniss. I just wanted to give you all something as a sort of ‘thank you’ and to wish you all the best. I wouldn’t have been able to get Sonniss to where it is without many of you in this forum, s…
Last reply by jgbsound, -
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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, -
- 1 follower
- 6 replies
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I threw this together to accompany my Producing Great Sound book. It uses convolution modeling to create random room tone. Load a clean, breath- and noise-free sample from the production track (15 frames or so). The sample isn't repeated, just used as a model for timbre. So the output doesn't sound looped. I've used this (or a similar process) on a bunch of projects over the past year or two. Sounds fine, even in a theatrical mix. Free, open source VST or AU plug-in. Runs in Macs only, and requires you load the free open-source SonicBirth first. Full instructions with the download. More info and download links at GreatSound.info/roomtone Comments an…
Last reply by logangcain, -
- 2 followers
- 21 replies
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Hi y'all! So I left the movies for radio, but still I keep using wireless mics and recording stuff outside, as if it were a movie shoot (but without the cameras). And in post, I still use the same tricks. However, I stumbled upon this little plugin called Goyo, which is a noise and reverb reducing plugin using AI in some sense. GOYO Voice Separator | De-noise, De-Reverb, De-Voice - All in One Plugin Quick review: It does what it says. I hear artifacts if I crank it hard enough. It's great to be able to just turn the BG down a tad, and then I can hardly hear the artifacts. Especially not if I'm imagining sitting in a car or listening in headphones on the subw…
Last reply by osa, -
- 5 replies
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Price is right. Might have to sign up for spam email to get it though. http://www.waves.com/lpn/black-friday/free-plugin-pre-signup
Last reply by Philip Perkins, -
- 2 replies
- 1.2k views
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, -
- 8 replies
- 2.6k views
So I have a feature that has a fair bit of outdoor shots that were filmed on location at a catholic school on E Colorado with traffic driving by. They won't ADR so I'm going to try and do a little multiband expansion to tame that noisy beast. i also have run rx2 on a few of the noisiest sections to try to at least get the noise floor to match a little betters making other fades between cuts a little more seamless. Now I've never really used waves c4 so I'd appreciate some general tips you guys have for me. Tell me how you like to use this tool?
Last reply by jgbsound, -
- 3 followers
- 34 replies
- 7k views
Hey guys, I'm a young guy who is just starting out in this industry and I am currently doing lots of free work. At the moment, I am doing everything from location recordings to the final mixes for short films. I have just finished the final mix for a short film with a client (i'm working for free), which they were very pleased and impressed with. This client is an older gent who is trying to launch his career as an actor through the submission of the short film I worked on into countless film festivals. He has many connections with very respectable and well known people in the industry, which is quite intimidating (but has the possibility of opening up the opportunit…
Last reply by John Lundsten, -
- 14 replies
- 7.3k views
Story is that me and my company shot a short on RED in 23,98 mode. Based on that it will be easier to convert to NTSC and it's compatible with PAL as well. Now we're sending the film to a festival in Sweden that only accepts HDCAM and not HDCAM SR which would be preferable. And HDCAM doesn't take 23,98. So we decided to speed up to 25 fps. Enter: Problems I used the waves plugin to pull the audio up with a ratio of 1.0416, which syncs up perfectly in Pro Tools. So far so good. Now we imported the video and audio into FCP. No sync. Wtf? Okay so it turned out the audio had a TC metadata stamp which was empty. In a 25 fps project, wi…
Last reply by Olle Sjostrom, -
- 2 followers
- 12 replies
- 2.2k views
Really interesting doc sound design talk from Peter Albrechtsen http://vimeo.com/60171257
Last reply by atheisticmystic, -
- 15 replies
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I have to wire 4 of them this week. Could use some ideas/tips. The way the board used to be had every single i/o wired to a patch panel. I thought that was way overkill. I have wired these before, but not quite to that extent. What are the most important things to wire to the bays? What are the most often scenarios you guys use them for? Most of my work is digital, with very little outboard gear. I love getting into old analog stuff.
Last reply by studiomprd, -
- 1 follower
- 50 replies
- 4.6k 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, -
- 11 replies
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I need to vent a tad... I worked on a pilot pitch last December, and yesterday, the director sent me a link to the final product. As I watched the 30-minute episode, I despaired at how awful it sounded: every single off-camera line was off-mic; not one line taken during the close-up coverage was edited in. There was also electrical hum from ballasts and lights that I couldn't get turned off during the shoot, and added backgrounds were often drowning out lines. The edit sounded like an indie picture lock or short does BEFORE the sound edit. I kept thinking what a shame it was that the director, who spent 50k of his own money, and who has one small feature with …
Last reply by Marc Wielage, -
- 1 follower
- 8 replies
- 1.5k views
Hello all! I've been having trouble lately trying to deliver a finished ProTools 10 session with its files to a client. After wrapping up the final mix for a short film, I removed all the unused audio from the clip list, selected the "Save Copy In" option, and checked the boxes to copy "Audio Files" and "Video Files." A new session folder was created along with a audio folder inside it, and there I see a big list of the audio files I used in the session. After moving this new copy of the entire session to an external hard drive, I opened it with ProTools and received a box informing me a couple hundred files are missing and need to be relinked. After selecting "automatic…
Last reply by Wandering Ear, -
- 1 follower
- 25 replies
- 2.8k views
On some shows like Breaking Bad and True Detective, you can sometimes hear a high frequency tone on top of the dialog track, as if it was some kind of carrier tone. It also follows the same gate as the dialog so it must be a technique. Does anyone know what this is?
Last reply by bmfsnd,
