Joe Riggs
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Everything posted by Joe Riggs
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Alexa vs RED camera for timecode. I'm not a Sound mixer but obsessed with sound as that affects the entire film. I was told by a sound mixer that if the camera is an Alexa he can jam sync it with his rig but any RED camera, he would need a TC box. I never bothered to inquiry why until now, but is this due to RED cameras having a TC drift, that Alexas do not?
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Is there anyway to strip a 6 discreet channel quicktime file of it's audio, so I am left with 6 mono files (these could be separate or poly)? I know this can be done within an NLE but I was wondering if Quicktime 7 has this capability or some other program that is not an NLE or DAW?
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Yeah, this is an on going issue in Adobe, they really need to fix this. I would certainly be curious how editors are working without merging clips, it would seem like an organizational nightmare.
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scene and take, next to file name, it may have been in parenthesis if i recall.
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If you can record it, it does help the picture editor in many situations.
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Picture editor. No files were ever erased or discarded, the files were simply merged within the NLE. These are simply pointers to the files on the drive. When merging a clip the audio file takes on the video clip name, exporting an OMF/AAF won;t work since it keeps the video file name for the audio. The workaround I found was to bring an xml into audition and export the OMF from there. The file names don't change back but metadata does.
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Premiere, unfortunately. If one wants to have any sort of organized project, you have to merge the clips. Am I supposed to edit without linking the video and audio track?
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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?
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Like Phillip said, I just exported as tracks since post sound told me they don't mind the duplicates. It was more of a small pet peeve of mine, because of the additional clutter and the need to export multiple OMFs per reel because of the duplicates. As Minister said, the way Pr handles audio is why it makes duplicates but I still didn't have success when I tired changing the preferences to mono and copying the edit to a new sequence. On the next project, I'll start my project with mono before importing everything and we'll see how that one goes.
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Hi Rick, I know what you mean regarding stereo files, but it does the same thing with Mono files...I think this is just a bug in premiere. HI Philip, From my understanding AAF, doesn't work well from Premiere, so I've always gone OMF route. Am I mistaken? When you get OMFs from Premiere, you don't end up with duplicate tracks?
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Hello, Trying to figure out the best, cleanest way to export an OMF from Premiere to Pro Tools. I'm noticing that due to how Premiere tracks handles audio files, even mono files, will end up with a Left and Right duplicate. So if you have 6 mono tracks, you'll end up with 12 tracks in the OMF (each original track duplicated with a left and right channel). This not only creates more neadless clutter in the timeline but it also increases the file size, thereby making encapsulated OMFs hit their 2gig limit much sooner. Does Pro Tools have an issue linking files from a referenced OMF vs an Encapsulated one? A potential workaround is to open the omf in Audition, delete the duplicate channels and re-export the omf. However, Is there any potential pitfall to deleting these tracks? I'd hate to delete something that wasn't a duplicate. I don't have Pro Tools, so I'm hoping someone who does and has worked wth OMFs from Premiere can shed some light? Thanks
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Sound mixer didn't record poly files, so I'm left with a bunch of separate mono files for every take, which I'd like to combine into polys. What's the most efficient workflow with Wave Agent to do so? Is it possible to bring in ALL sound files for day 1 and it will create polys? Or do I have to keep it take by take? So Take 1, bring in the three separate mono files, combine...Take 1A, bring in the three separate mono files, combine, and so on. Thank you
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Don;t know which software it is, but it is clearly nothing the caliber of Pro Tools or Nuendo. They can't accept OMFs or AAFs for goodness sake, I've also had the pleasure of listening to their work, I can confidently say we are dealing with an amateur, hobbyist maybe but not a pro.
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There's no editorial problems. The reference movie is 23.976 and everything is in sync, the only mickey-mousedness is the "sound designer" doesn't have professional software (pro tools or a equivalent DAW that typically is used for film work). Therefore, when that reference movie is brought into whatever program this person uses it is on a 29.97 timeline, they will do all their work on that timeline, and export the audio from there. I guess we will eventually find out if there's audio drift or not.
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Mmm the pizza analogy is delicious. Ok, here's the deal, the project was shot and will be finished at 23.976, the so called "sound designer", an amateur, can only work in 29.97 (yes, I know, hire someone else, a professional, I would if it was up to me and the person hired wasn't related to the boss), so will there be drift in a 15 minute project when I get a mixdown WAV file back? Or any other ideas on how to keep sync?
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I'm trying to get a better understanding of how audio and frames rates work together, take an H4N for example, I could record video at 23.976 or 29.9, and the audio file from the H4N would match to either one of those. I don't have to set a frame rate for that (I'm not concerned with jam syncing time code or anything). However, what happens if your film is shot and edited at 23.976 but your sound designer does all his work in 29.97? Will there be a four frame sync difference when you get the audio file back? I'm not familiar with most DAWs, do you need to set a frame rate there before you begin work?
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Yep, "intense" scenes are the ones that cause the most issues for me at least, particularly if the other character is breathing throughout. The initial example, of a character being attacked in an O/S shot is something I've come across multiple times but from the replies I'm gathering the practice of having the actor whose shoulder we are over just mime their lines is rarely done (understandably because it can hinder performance)?
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What's the ideal procedure for recording intense scenes where actors overlap their dialogue naturally, even when one of them is off camera or it is an over the shoulder shot. I've been getting a number of scenes lately where this is occurring and obviously this makes each cut jarring. For example: An intense scene, we are over the shoulder of Character B, looking at Character A. Character B is approaching Character A to kill her. Character B has most of the dialogue but Character A has a couple lines and is also supposed to breathing really hard and be scared. Let's say, the director wants the best sound and most flexibility in post so he is willing to adjust the actors. So is it as simple as, "Character B for this shot just mime the words"? Then for the reverse, when we are looking at Character B, would you just say "Character A for this shot, just mime the breathing"?
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Bridging the Gap from Production Audio to Post
Joe Riggs replied to Jeff Wexler's topic in The Post Place
Breaking it up in chunks but it is really good, thanks Jeff. -
Often times an editor is tasked with quality control by production and told to bring any sound/picture issues to their attention. I've done this in dire cases even when not asked, Mike's situation isn't one of those cases but situations when a "sound mixer" records at 44.1, or levels are around -35db range on a CU, you have to bring such issues to their attention asap.
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I had this hapen not to long ago - a producer wanted to hire me, we spoke rates, but nothing was in writing. The week of the shoot comes around and a few days before, he lets me know we can only afford half your rate. Thanks but no thanks.
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Didn't quite roll for some of a take.. What happens next?!
Joe Riggs replied to Todd Weaver's topic in Workflow
https://www.youtube.com/watch?v=Ln9yywA5Cjs -
Even if that is what he meant, he should be sending the best track possible. Like you said, you're hired to do a job. I understand that without listening to the tracks it is hard for others to believe that in this case the quality is the same. I agree with Todd's axiom "use sound recorder's audio absolutely" and follow that 99.9% of the time, but let's say a miracle happened, the feed sent directly from the mixer to the camera is as good as the separate tracks? One shouldn't be that closed off that they can't deviate from the normal workflow if the evidence supports it.
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So you would send a lower quality track out of spite?
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Speaking from a editorial perspective, I rarely get a mix track because production doesn't ask for one and since the editor is often hired after the shoot, there's no communication with the sound mixer. So it is often the director/producer who doesn't realize the benefits of a mix. Therefore, you sync up and use the iso tracks unmixed and it can sound pretty rough, you do a little mixing if something is really loud or quiet but generally it is not part of the job, there's already enough things to worry about and post sound will eventually handle it. However, a mix on track 1 is tremendously beneficial, followed by ISOs in poly file. That way during the edit you can solo the mix track and have a better sounding film all the way till picture lock, then post sound can take over and have full control with the iso files.