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Everything posted by whatalob

  1. I see that these come from the aviation sector. Wondering if anyone uses them for production sound and can comment on their sound and isolation.
  2. I have the same problem - what is the solution.txt
  3. why can I not enter text but only attachments.txt
  4. not that it means anything but just for the sake of it there is always worse. I'm about to start a tv job that is: - 1man sound - requires production sound sent to the 5d - has no sound post. I guess neither producers, broadcaster or viewers care for the poor sound that's all over the national tv which breeds all of the above.
  5. there is also people using pyramix, albeit not very many. but it is very powerful once you get the grip. cheap it is not
  6. no not joking, just curious. I was told that the camera is really quiet before filming, but it was not. The sound cover made no difference at all. Sure, this job is a lot about fighting set noises and in the past even dv cameras have been too noisy for me, so just wondering what people used to do with film ones.
  7. I admit I am not getting this one
  8. Just an update on this. Turns out its not so much of a tragedy after all. Now indeed the material is on 24, and the sound stamped at 24 syncs fine apparently. The files that were recorded at 25 were drifting but restamping with waveagent did the trick. haven't heard back for any problems so far and hopefully no drifting due to the camera, but I still don't know the exact model it was. there will definitely be an issue with the camera noise messing up the dialogue (for CUs at least), for which we did wildtracks and recoded the rehearsals, but I imagine it will still be a pain. ADR is not an option, perhaps denoising will Are there any strategies for this problem at filming stage? kinda off topic now i guess
  9. well so far, I have been told that, the problem was in the lab that transferred the telecine beta to digital files. Now apparently the project is back on 24fps in avid (not 23.98) and will be edited as such. Apparently the tried to sync a few of the files with the 24 stamp and they all synced ok. So no drifting issue yet, but the real editing has not begun yet. They also tried takes from the day where my recorder was set to 25, and there they could not sync. I know restamped one file to 24 and have sent it and am waiting for their response. I tried to get an exact explanation of all steps. (in other words what the hell exactly happened? was it 24->25->24 and why) but I did not get one. I 'll keep you updated.
  10. they came through eventually, but with a 2 day delay and the dl link did not work anyway. Thanks to the guy who sent me an installer.
  11. hello, i have been trying to download this software for 3 days through the sound devices website. I have tried many times and with different emails, but there is no download link coming through. I was thinking maybe I could ask someone to send the installer to me as this is quite urgent. thanks
  12. I can explain my self further if that would make people feel better. I live in a place with limited cinema production. There is not even a film transfer lab around, hence the lack of workflow test. (plus many other usual factors) My main line of business is in the studio recording music. I also do some location work for picture and it has always been with digital cameras, prosumer video or dslr. I never had a sync problem before. I have done a lot of research and have reached a level of getting good sound and solving most problems. I never had the luxury of a mentor though. I don't know much about editing systems, and how those systems interpret the framerate stamp on an audio file. Ofcourse I know there is no actual framerate in audio and if you actual speed it up the pitch will change. My question regarded whether somehow the editing system uses the framerate stamp to interpret audio in a different way without affecting the actual speed. No that I thnk about it it does sound like nonsense. I ve never jammed my recorder with another device, noone even demands it or knows how to do it. I never said that I used TC to sync with the camera. The camera had no sound, it was an old 16mm arriflex that made lots of noise and messed with my dialogue anyway. the leather cover made no real difference I wrote the OP like I know nothing because the people I talked, did confuse me and I wanted a clear answer myself. I did get those answers mostly. But I also got confused a bit. Does the framerate stamp in the audio file matter in cases where the sync is done manually with a clapper? This has to do with my lack of knowledge in picture editing systems. If it does, would restamping do the trick? How does it work that the sync happens in the transfer stage? I mean that a roll of film does not correspond to a bunch of audio files so how would it be done in the transfer lab as philp suggested? What options are there when transferring to digital? Could the framerate have remain the same at 24? If I had jammed to a TC device should I have used 23.98? Forums like this have been very helpful many times and I appreciate it all. And while its not nice to be told off I also understand when people get angry at questions that lack basic understanding and show negligence. I 'd like to believe my case is not so bad, as my initial understanding when shooting this short is that, with the clapper no sync problems should come up. I had also discussed this with the dop and producer, when shooting. But when you get a phonecall with lots of info thrown at you that I have no perfect understanding you do get overwhelmed. Its natural that you hollywood guys do know much better and its nice that you share the knowledge. thanks
  13. thank you all for the enlightenment. it looks pretty bad. I am only trying to help out these people who have not done film before. Neither have I and I wish I knew more about it. I could have say its not my problem and and not make myself look silly, but I d rather help in getting the film done. Problem is the editing is happening miles away. One more thing. What happens when the edit goes back on film to 24fps? What about if they decide to do a seperate sound edit before? There I assume it stays at 25? thanks again.
  14. Legacy-PAL here. Am I right that this 4% speed up is by pulling up in the tc stamp so it won't affect the actual pitch?
  15. I am not get into details on why I posted like I did. I am in a dispute with an editor who as a benefit of a doubt I give that he might know better and put the blame on me. I am aware of the above but needed some confirmation, was feeling insecure perhaps. This is not my main job but nevermind, you do help a bit. Now is the pull down possible in avid or should it be done in a daw?
  16. I did the sound for this short film shot on 16mm running at 24 fps. I set my recorder at 48KHz and 24 (apart from the first few shots, where it was left at 25 by mistake) there was no tc jamming, a clapperboard was used for all shots. Now a few months later I am told they can't sync none of the audio. It has already been transferred to beta and then to digital for Avid mxf. No syncing done at any of those stages. Now if I understand correctly the material is at 25 fps? I didn't even get a clear answer Is the audio to blame here? I know that there should have been guidelines by post as to audio framerate settings but there weren't. Just wondering what I can do from my side perhaps in TC restamping or anything else. At leas to fix those shots that were not stamped at 24, if indeed this is the correct setting in the first place.
  17. It also feels a lot heavier than I expected. I haven't used an internal cable before. Would I be better off using an external with this pole in terms of weight?
  18. oh my, that was easy. I 'm embarrassed for not thinking straight. Thanks for the help.
  19. the title says it all. They came separate and I just can't get my head around it. The plug won't fit through the hole, the release thingie of the XLR gets stuck just before it can fit through. Any ideas?
  20. thank you all for the interesting insights. I will try my best.
  21. Not sure if i use the right term here. I am talking about those shots where the camera follows the subject pretty close up. Either hand-held or steadicam. Any tricks on capturing clean action sound without the extra footsteps and steadicam rattle? I guess one can go for muting shoes with foam, but that wouldn't work so well on location say on a gravel terrain. Or is it a case where it has to be done in post?
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