soundhound82

Davinci Resolve, the post production coloring suite software, now has the capability to edit video content. Let us assume one is editing a feature film in Davinci Resolve with all the dialogue tracks, foley, sound effects and film music score matched up nicely to the relevant areas with the video track, what if one then moves the locked edit to an audio post production facility would there not be a problem if the facility does not use Resolve in their pipeline? What if the post production facility only have access to Avid or Premiere, how would they be able to watch the film and at the same time perform their professional post production audio enhancements to all the audio files in the Resolve locked edit film if the facility does not have a copy of Resolve? What is the industry practice or industry standard in terms of after one has a locked edit (video and dialogue tracks all synced) done in Premiere for example? Does that person take the Premiere file of the entire film and give it to the Audio post production company?

Totally agree with your statement above sir. I was in fact searching for scratch track for filmmaking but got more videos on YouTube regarding scratch track as a DJ technique. Thanks for the tip. Thanks mradlauer and Jim Feeley for your posts too!

I see what you mean. So you are saying that a timecode box connected to the camera would be okay on its own? And also I guess people who want audio as well (as a backup option) will have to pay more to get the necessary further gear for this? If this is what you mean then I understand. This might sound funny but what is the technique used to produce a scratch track? Does the recordist 'scratch' his fingers on the boom mic at the start of recording so it can record a scratch on the camera's audio, which can later help to match with the independent/separate externally recorded audio in post?

Good to know your solutions Constantin and mradlauer; I love this forum! mradlauer, those timecode boxes seem really handy. Are ERX's the main timecode box brand or have you heard of more? Would you know if they work on Blackmagic Design cameras, e.g. the URSA Mini? I know there is a timecode input control on that camera so I assume the box might be able to plug into there. Also mradlauer, I read that the ERX box is capable of sending a scratch track to the camera, for example when the box is mounted to the camera. This is great because the sound mixer (recordist) who has the soundbag, when he starts recording a take/scene, he can send a scratch track to the camera so its microphone can record that track and hence help greatly to sync audio to video in post very easily! Have you used the ERX's to send scratch tracks to your camera?

For any users of the Sound Devices 633 mixer/recorder or other Sound Devices mixer/recorder, after you have jammed the timecode (to synchronize the camera and mixer/recorder) by connecting the mixer/recorder to your camera via a cable, after the cable is disconnected what rate of timecode drift do you normally observe on the mixer/recorder? How do you deal with the timecode drift over the course of an 8 hour day's shoot for example?

Thank you kind folks for your very helpful replies. Jeff, I appreciate the breakdown. Sorry that I posted this under Equipment as I thought it was equipment related but it was more academic in nature. Being new to this type of audio it has indeed been helpful to get an insight into the process in a broad sense. Appreciated once again.

Hello all, I have a question about profesional field audio recording in filmmaking. Let us assume the field sound recordist has a boom mic, for which the cable is connected to the mixer/recorder in the sound bag. Also, two actors each have wireless lav mics and their signals are received by the receiver in the sound bag; the receivers are also connected to the mixer/recorder. My question is as follows: When the sound recordist presses the 'Record' button at the start of a scene, and records dialogue from the boom mic and the two actors' lav mics, what is the recorded result after the recordist presses the 'Stop' button to stop recording after the scene has ended (director says cut)? If I take the recording media (e.g. SD Card) from the sound mixer/recorder and look at it on my computer after that scene, would I see a folder that has three separate .wav sound files representing the scene's audio from the boom mic and each of the two lav mics, OR would I see a single sound file that has all three mic sources merged into one file? Personally, I think that all 3 sound mic sources merged into one file is difficult to separate in post and I am wondering therefore, what exactly is the workflow in professional audio recording in filmmaking? When the Director says action and audio recording starts, does the hard drive in the sound mixer/recorder record the multiple mic sources into a single file or split the sources into their own unique separate files? I think the separate files are far way more better especially in terms of visibility, so you know what you have. Thanks!