DunkleFish

All of this talk about green editors messing up perfectly recorded sound makes me think about all the green soundies who effed up sound for my edit. If someone wants a boom and a lav and they're paying for it, why not give it to them? Please don't answer that.

Aren't the reasons 24p and 25p work so well due to the fact that they disconnect us from reality just enough to make it easier to "believe" in what were seeing? The more hyper-realistic a fake thing is, the more exagerated the imperfections become. Regardless, I still want to check the movie out and I think it's a good thing that there's people/companies who are willing to experiment with a big budget production.

FYI, they released a new version/patch for MC6 and, I hope, Symphony 6 for Windows and Mac. Here's a thread with the Windows link: http://community.avid.com/forums/t/114385.aspx

Thanks, Jack. PM sent.

Is this simulator still available? The link Glenn posted in broken.

+1 I'll usually try to date my files like this: YYYYMMDD-XXX (20121015-001.xxx) That way, all the dates line up sequentially, which can be useful if you're on a project that spans multiple years.

Thanks for the heads up Marc. It's an interesting topic to say the least.

Getting a clap during some kinds of doc shooting can be impractical. Sometimes our recordist records for awhile before the DP starts rolling. Example: The recordist records a person telling a story to a group while the DP moves around for different angles and cutaways while starting and stopping the camera. It's not always ideal, but that's doc work, and in cases like that, clapping would be weird - there's nothing weird about timecode.

We do docs and our typical work flow parallels what Jay Rose said. While we're editing, if we think something might not work sound wise, we'll get in touch with our post sound guy and see if they think it's fixable/workable on their end. Same thing with finishing a film visually. If we like a shot but think it's too grainy/shaky/etc, we check with our finisher to see if it's fixable. There's editing tricks for getting away with sound/visual issues too. For example, a shaky close up of a guy talking with airplane noise in the background typically wouldn't be ideal, unless you identified the environment they were in with something like an establishing shot, and if that establishing shot was a shot of that guy riding a horse down a runway with a plane taking off behind him, the following shaky close-up wouldn't be an issue. What's up with FCP's media manager? I switched from Avid to FCP, FCP back to Avid after FCPx was released, and now I'm looking really closely at switching to Premiere...

I see what you're saying.

... If a network was paying a producer to mix to some absurd level, it wouldn't fly, and as for a DVD or theatrical release, there's still a norm, because like you said, it's dependent on the theater's/TV's equipment, which is why the norm is -12db.

I was under the impression that -12db was the norm. If you want to hear an example of what a final DVD shouldn't be mixed to, watch Crazy Heart (2009).