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The Post Place
the section for everything relating to Post-Production
350 topics in this forum
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- 24 replies
- 6.6k views
Trying to help my brother with some post production mixing on his videos and just found out FCPX doesn't export OMF. Just curious if anyone has tried the www.x2pro.net software and how well it works between X and PT9/10. Also, is the LE version worth getting or should I jump to the Pro version at twice the price? Tried adding this question to a thread at gearslutz but my thread got moved over to a small sub-forum that doesn't get much action! Appreciate the feedback!
Last reply by hexeric, -
- 1 follower
- 7 replies
- 6.6k views
Hello, I get asked to mix some very indie projects in 5.1 and somtimes I don’t really see why. If there is nothing but a single boom track and music there really isn’t that much to mix. Is it worth the time to convert those projects to 5.1? I would assume you would at least want some foley/sound fx to really make a difference. Or is it that important to have more music in the back of the theater than the front? Thanks, Louis
Last reply by Brian Liston, -
- 58 replies
- 6.5k views
I hear a lot of people complaining about having to wait for a bounce, here is a tip. Instead of real time bouncing, record your master to an audio track. If you make a change, you can just destructive record the change, then you don't have to bounce again. When you are done, just export the audio file on the track with the settings you want. I have been doing this for several years with no complaints.
Last reply by Marc Wielage, -
- 2 followers
- 5 replies
- 6.5k views
Does anyone know how to view or keep the names of the audio tracks, within a polyfile, in an editing sequence in Premiere pro? I am on a job where the editor is on location, and when I went to check in, I saw that in the editing sequence all the audio tracks were named a1,a2,a3.....rather than the names I put in the recorder boom 1,boom 2, lav henry.....
Last reply by Wandering Ear, -
- 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, -
- 3 followers
- 31 replies
- 6.4k views
I couldnt see a specific thread about Pluraleyes but I could see a lot of very sceptical posts about the softwares ability from around 2111/2012. I have worked with a lot of people (editors) who absolutely swear by it and when I do 5D work I can just give them the audio files and nothing else (it helps if times of day matches a bit) and I've not had wines or gripes. I did do one job here in ZA for an American company who insisted I got a big ass SD mixer (as well as top of the range everything which was hired at great expense) and we shot on some bigger Cannon cameras and the time code kept drifting and there is always the framerate issue. Now enough time has gone by for…
Last reply by chrismedr, -
- 1 follower
- 12 replies
- 6.3k views
I don't normally watch TV, but over the last few months I've been using Netflix. Watching Bones, Lie To Me, and Supernatural quite a bit and noticing a few things. Biggest thing is the level of dialogue vs. level of music. Intro and ending music pretty much blows everything else away. Transitional music gets a bit loud too. Point is I find myself turning my master volume up and down quite a bit. I've considered that this may be due to the acoustics of my room or possibly a psychoacoustic effect but I've also heard several other people say the same things about their experiences at their own homes. I have to wonder if the post mixers on shows like mixing this way or if …
Last reply by Constantin, -
- 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, -
- 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, -
- 21 replies
- 6k views
I am currently cautiously looking at increasing my post capabilities and the thought occurred to me to bone up my DAW controller. I currently use an Alesis MasterControl at home. For the price, it is quite nice and feels like a solid piece of kit. Generally, for ADR and mixing, we'll either be at the main studio or on set. At the studio, we have an SSL4000E/G, a great console, but of course not a control surface. What I find that I do, if I need to do any type of moderate or major editing, I do that all at home, and then bring in the client for a final attended mix at the studio at which point I'm just mixing stems together for the final client approved print. We're…
Last reply by Tom Visser, -
- 1 follower
- 43 replies
- 6k views
Hey guys, So, I'm on day 14/15 on this Indy feature that we've been shooting on the Canon C300. Apparently, there was a miss-communication with me and the camera department on the first day, and this whole time we've been recording 24p video while I have been using 23.97 for my Nomad-6. Simple set up with a dumbslate, the editors assistant said that doing the typical ".1%" speed up is not doing the trick to fix the drifting of the sound sync. Editing is being done in FCP. Has anyone figured out tips or tricks for working with this? Plug ins, programs, ect? Thank you very much, -W
Last reply by Jack Norflus, -
- 1 follower
- 21 replies
- 6k views
Final Cut Pro 7.x shows Scene, Take, Timecode Start and other metadata information from BWAV files, but not the track names. Is there a way to get it to do this? I've had editors ask me about this and I can't see track name information anywhere in the software. Mark
Last reply by Philip Perkins, -
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
- 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, -
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, -
- 1 follower
- 11 replies
- 5.8k views
I would like to know how do you use reverb on dialog tracks, mostly in TV series. Do you send to Mono or Stereo reverbs? How many reverbs do you start with in your mixing template, which ones? Do you design custom patches for specific locations through all the series? Which reverb plugins or hardware do you like to use for this purpose and why? Any tips and tricks related to the use of reverb in dialog tracks? Whatever information you want to share on this topic will be welcome and I'm sure it will result very, very helpful. Thanks for your time.
Last reply by Werner Althaus, -
- 12 replies
- 5.8k views
Hello everyone, I'm working on an environmental documentary mix and the editor/director did not include all the audio feeds into the timeline edit and resulting AAF. So I am trying to reconstruct the edited version of audio and replace the Lav Feed with the Boom. So I have all the original source RAW interviews that were recorded on location copied onto Temp tracks in the project. Is there any way to "match" by waveforms in Pro Tools 12HD? This would be similar to the way PluralEyes and Premiere Pro matches audio by analyzing waveforms. Ideally, I'd like to pull up some sort of plugin window, select my "Source" samp…
Last reply by TVPostSound, -
- 46 replies
- 5.7k views
Matthias asked this question elsewhere, and I thought it was a complex enough topic that it deserved its own separate answer. I have dealt with this before in post, literally with neophyte studio execs who go crazy when they can't hear off-camera dialog to "put the scene in context" (quote/unquote). In post situations, I'll tell them, "hey, don't worry -- you're covered on about 19 takes of a close-up of the other person," but they're still a little rattled. In TV, what I've generally seen is that they'll make an attempt to at least get the off-camera actor on a wire, then get the on-screen actor on a boom. It's a good question as to which piece of dialog gets i…
Last reply by taylormadeaudio, -
- 2 followers
- 51 replies
- 5.4k views
Hey, This is a repost of a topic from the General Discussion section of the site. I was wanting a take on this from a post engineer's perspective. I have been on more than one shoot for a commercial recently where a particular AD in town has refused to get room tone at the end of the shoot day saying it is because, "Everyone would kill her if we stop for that at the end of the day." This after I asked for it earlier in the day. Admittedly, this translates to either, "I want to go home and don't care," or "I have absolutely no control of my set". But, this brings up the topic, how often do you get room tone from set? Do you ever get it on 30 second comme…
Last reply by VM, -
- 1 follower
- 10 replies
- 5.2k views
http://www.youtube.com/watch?v=O8PQ1vcTaoI
Last reply by VASI, -
- 1 follower
- 6 replies
- 5.2k views
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, -
- 1 follower
- 12 replies
- 5.1k views
Sunk original audio (file named by take) with video file. Merged the clip and the audio file now takes on the video file name. Edited the film. Now the Post house, needs the original audio file names for all the audio files used in the edit. Is there any way to get the audio used in the edit to revert back to its original name? Maybe there's some 3rd party program that can help with this?
Last reply by Micah Loken, -
- 1 follower
- 12 replies
- 5.1k views
I can't help but scratch my head on this one... I'm occassionally doing post for Indie/student shorts which go on DVD (no theatrical), and upon reading up a bit I hopefully understand correct now that the Dial track should be around -27db Leq (A), and if then I set Dialnorm to -27dB FS when encoding AC3, all should be (almost) good? A few months ago I calibrated my monitors and now I'm doing post on another short, where I occasionally switch from 76dB (editing) to 83dB (mixing), which I figured should bring me in the ballpark without slavishly watching each meter movement... but please correct me if I'm wrong. Now, when doing stuff for small TV stations, which s…
Last reply by TheBlimp, -
- 6 replies
- 4.9k views
Hello Gurus, I recently invested in five Adam A3X monitors and a Sub7 to build my 5.1 monitoring setup. Given that Sub7 does not have a dedicated connection for a LFE input, I am looking for some suggestions, and advice on how I can configure these monitors as a 5.1 surround setup. I use the UAD Apollo as my main interface to mix in the box.
Last reply by Mark Orusa, -
- 1 follower
- 30 replies
- 4.9k views
http://www.deadline.com/2014/05/soundelux-bankruptcy-layoffs-hollywood/
Last reply by studiomprd,
