PLo128

Very cool to read, Whit! And I don't think so JohnnyHaze, unless they built two plants into the wall and painted over them. Just looks like skilled boom operating--possibly two booms.

It's all types of files--459 of them from a 13 minute film to be exact. I don't have the time to manually relink them all. So a lesson learned to just work off a client's external drive for small jobs like this.

Thanks guys, I'll try again with this advice in mind.

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 "automatically re-link," it only finds about half of them. I've repeated this process twice now to receive the same results. Can anyone tell me what I'm doing wrong here? Do I need to reset my preferences? I searched the forums but came up bunk. Any help is appreciated.

I'm a fan of these 5.11 Tactical boots that police wear: http://www.lapolicegear.com/footwear.html Very warm and comfortable--something like a tennis shoe and combat boot combined. Bought mine for around $90 from an army surplus store and use them as often as I do in the desert as I do in the city. Plus they come with a storage pocket designed for small pocket knives if you're into that sort of thing.

Nothing particularly special about my rookie bag, but I do enjoy setting up a work station with the Stanely toolbox on wheels underneath it. It holds all my cables, accessories, and allows me to drop my bag inside and lock it up when I have to quickly move all my tools to the next shooting location. It even fit a foldable stool I picked up from Big 5 Sporting Goods that also straps onto my back whenever I need a rest from that Zoom H4N! This bag has to get me through the rest of this year, and come February I'll be switching it up with the Nomad and 2 SRa receivers.

I would just send the cameras' channel 2s' the track you think sounds the best. In some cases that might be the boom. In others the lavs. Or if the producers really don't seem to care one way or the other, save yourself the stress of caring too much and just send a sum of all the mics, or faux mono mix, or if you have the ability--a real mono mix. It sounds like they're just trying to avoid synching your recorder's .wav files in post. But you need to let them know there's no getting around that if they actually want good sound.

I've been eye-Ing the Cantar and Nagra VI for the better part of 2 years now, but never been remotely close to affording them. How practical would it be to work with 6 tracks today? The Nagra is my avatar, so I just appreciate ruggedly built, extremely durable technology. But damn I'm afraid to put 2 mics on the same track without backup the more I grow older...

It's a great piece of gear for its age, tho if any of my 3 isos run hot it would have been nice to have a slightly lower monomix to cherry pick from. And yes, I agree that creating mixes when possible is good practice regardless of the production.

Wow surprised by my lack of control with a SD recorder...

I'm trying to use input 1 fader to control the level of my mono mix on track A. I have nothing going into input 1; however I'm using input 2 for my boom going to tracks A and B. I'm using a heavy as hell bag setup with a DVPro mix 6 to fade my lavs on inputs 3/4 tracks C/D. Basically I want to control my mono mix separately from my isos but I can't seem to figure this out with the manual. Thanks again--at the rate I'm working now I'm bound to provide more helpful answers on this board than rookie questions!

I'm intrigued by Reaper, Joe. Thanks for the replies. I'm primarily a location sound guy, and I think time efficiency with basic dialogue sweetening/FX building is all I can really offer without having a studio of my own. I like the idea of being current with the industry and knowing ProTools, but perhaps Reaper is the more suitable option for me at this time. I'm providing location sound for a series of 5-6 minute documentaries next month, and the producer threw me the post-sound job if I was interested. Would Reaper run well with my current hardware setup of a 15" MacBook Pro and a decent 1 or 2 TB external hard drive? Thanks again for all the feedback, guys. I may not reply much but I'm reading and digesting every post.

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. Would this starter kit from B&H along with a 2 terabyte external HD be worth it for what I want to achieve? http://www.bhphotovideo.com/c/product/730217-REG/M_Audio_Pro_Tools_Essential_Studio.html Or would I need to go straight to ProTools 10 and a control surface if I have aspirations of handling any type of video work. Help!!! Thank you always.

I'd love to read Jim's thoughts here and how much creative input he had with the film--if I get off set early enough today I'll be at that double feature screening with Blow Up

Just the headphone amp. Shouldn't have been So stupefied by the excellent quality as to forget to request listening to a recorded file

Just compared a Sennheiser 416 through a Nomad and the 664. I prefer the Nomad's sound--slightly cleaner and crisp to me.

Oh, but I can still record directly to the HD without also having to record to the DVD ram? If the DVD rams basically act like 1 gig cf cards strictly for getting my audio onto a computer I might be able to live with that for now. It's got to be better than using a zoom or Edirol r-4 pro for pro audio recording

Wait I'm confused--pD-6 also has an internal hard drive. Couldn't I just skip using the DVD-Rams and download my files to a laptop with FireWire cable if I wanted to?

Tom--I'm very intrigued. Have you attempted to do such a thing before or know of a post here containing a thread; or possibly even a wiring schematic?

Scanned PDFs of my sound reports I mean... It's amazing what you can get done at lunch by missing out on a discussion about last night's Family Guy rerun

True I appreciate that. It does seem to impress producers when I manage to turn in 15 days worth of audio with all the files named, organized, and with scanned PDFs despite my technology.

Just curious--ultimately, what is the drive in enthusiasm for these lightweight, more portable multi-track recorder/mixers? Is it reality tv/documentary work? Or is it becoming increasingly expected for sound mixers to operate as 1-man-bands (seems to be the case in the indie world)? Or is it simply a matter of more filmmakers shooting unconventionally thus making cart-based mixing with a boom op less practical?

Thanks guys, I'm still debating it... A few jobs are still up in the air and maybe it's worth it to just wait a little longer and buy a nomad or 664 instead. I kinda hate to say it, but my DVPromix 6 hooked up to a Zoom seems to be getting me through for now for the types of gigs I'm getting.

Just curious--has this film played an influence on anyone else's decision to pursue a career in film sound? I saw it just before enrolling in film school, and I couldn't help but feel something kinda cool about recording sound. And so when volunteers were needed for sound duties on my class's short films, I was always the first to step up (1 out of maybe 2 others in a class of 40 or so...). A career of sorts stemmed after that... Though when I watch the film now it kinda drives me nuts seeing John Travolta recording outdoor sounds without a wind cover. Or even a shock mount on a handle.

Thanks studiomprd. I guess I would have to compare the Pd-6 to a Fr-2, or *cough* Zoom H4N. I'm not expecting Deva quality, but it'd be nice if it could hold its own to a SD 744. Also, I heard it can go through an NP battery in 2 hours...?