Joe Riggs

Amen...whole article is great, would be interested to hear some of your war stories Syncsound that no doubt led to the eventual writing of this article.

Yeah, more work, I'm currently finishing a different project, then I'll be tackling that one. True for some folks, but in this case, and it is the first case I've come across where there really is nothing to gain by syncing. If the files were polys with even 3 mono tracks, 1 boom and 2 lavs, it would be worth syncing. If the sound quality was superior, it would be worth syncing. In this instance, it's not, and the feed is just as good as the audio from the mixer. Big thanks to the recordist, he did a great job and ended up saving us some time in the process.

Honestly, I'm a sound snob too, if there was anything that would make the mixer tracks superior in this case, I would use them nothing is worse than bad audio.

Yeah, i understand, and trust me typically there's no way I would even consider using the feed, but in this case, since it is just 2 channels, and I evaluated it using decent equipment (not the best), hypothetically if there was a 1 db difference in noise it would register with those headphones or in a DAW and so with the difference, if any being so minor, we should be fine. John, what headphones would you recommend? A feed was sent via xlr directly from the mixer to a RED camera, I wasn't the recordist so I don't know specifications about the sound equipment used.

Yep, took distortion, modulation noise, background noise, into account and they are nearly identical. Any variation in noise that might be present between the two is negligible. I'm using Sony headphones, MDR7506.

I have a project where they recorded they recorded 2 channels to a sound device - (1 boom, 1 lav), at they same time they also feed a direct feed from the mixer into the camera, delivering the same 2 channels (1 boom, 1 lav). Typically, I would always sync to the sound mixers audio but since in this case it is only 2 channels, with a direct feed from the mixer to the camera, and when evaluating the recording, they are nearly identical, with the feed to the camera actually being a little stronger. Therefore, I'm inclined to use the feed from the camera this time. Is there anything i could be missing by going this route? Thanks

Hello, I was wondering what is the traditional workflow for editing audio (cleanup, amplify, etc..), the process used as well as the best order: Would you Normalize first, then noise reduction, then EQ, then amplify? I just don't know what the best procedure is. Also if you have a track where the dialogue audio levels vary wildly, some quiet, some loud, what is the best process or processes to use that will result in a consistent audio level? Thansk

I have a sound effect that has a metal like sound, I like to minimize that metallic sound to make sound more dull, or take away the harsher metal sounds, which audio filter would be best suited to accomplish this? This is akin to the sound http://www.pond5.com/sound-effect/8593621/boltloosenscrew-s011in59.html Thanks

I'm pretty naive when it comes to 5.1 1. First is it possible to create a digital Pro Res file, with 5.1 audio, that will play back 5.1 via quicktime or VLC, or is 5.1 strictly done when creating a DVD/blu ray ? 2. Is there any way to end up with a 5.1 audio and Pro res video this within FInal Cut or must it be run through compressor to create the 5.1? Ideally I'd like to end up with a Pro Res file with 5.1 audio direct from the FCP7 timeline, instead of having to create the 5.1 in Compressor.

Agreed...what dolts!

I did try wave agent, it didn't work properly or maybe it was my inexperience with that program. First the file shows up as zero in length in the program. (I can play the file in quicktime and VLC player, it's length is 90 minutes). When I select splt poly, it gives me 12 tracks? When I export I get 6 sepertae WAV files, but with no audio, they are 10kb in size.

Hello, How do you export a Quicktime file with 5.1 audio from Final Cut Pro 7? You would think this would be pretty simple, do x, do y, export and walla you have a 5.1 audio file. However, I'm running into a few issues and I'm unsure how to verify if it is indeed 5.1 Here's a couple of instructions I found: http://fcproducer.com/2007/02/export-51-surround-sound-from-final-cut-pro/ https://discussions.apple.com/thread/3284332?tstart=0 I followed the first one. The first thing I noticed is that once I set my 6 tracks to dual mono, I could not hear the dialogue track anymore within Final Cut 7 program, however I can see that it is present in the waveform. I'm not sure why this happened maybe because I don't have a 5.1 setup, so my computer can't output all 6 tracks to 2 speakers? Then when I export, how can I verify if it is 5.1? When I go to inspector I get I would think it should indicate this So I'm confused on the right way to export and verify it.

After a long time troubleshooting, I read that .wav files have a 2-4gb limit depending on the program, and walla this ended up being the issue. I had the sound team export that audio in reels and then they imported fine. But what a unnecessary headache. First I had no idea about this limit and neither did the sound team, is this common knowledge? They said they never encountered this issue before when delivering a full file. Do most sound people deliver their final mix in reels? Because if anyone delivers a final mix as one file, most feature projects would be over the 4GB limit. So I just don't understand how more people are not running into this issue.

I tried opening the file in Adobe Audition and I get this error which might be the problem.

Got the final sound mix files from the post sound team. They are 90 min long wav files and when I try to import any one of them into FCP 7, I get this error: File Error: Unknown File .wav Very similar to this post http://forums.creativecow.net/thread/8/1180926 The files were exported from Pro Tools with the following specs: It is the "little endian" codec that's the problem?

All I'm looking for is a scratch track. Does the 5pin to 3 pin cable have to be at a right angle or will this work? http://www.bhphotovideo.com/c/product/407854-REG/Hosa_Technology_DMX_106_5_Pin_XLR_Male_to.html This is was mentioned to as a possible solution to not have ot be tethered. http://www.bhphotovideo.com/c/product/747361-REG/Nady_DMP_2_DMP_2_Compact_Microphone.html It has a Gain Range of 50dB Would that work?

Right, but is that done with just a lav like a G3? Is that what a "wireless hop" is?

Would a simple route be a wireless lav from the mixer to the Alexa, that way you don't have to be tethered?

John, Thank you and trust me if it was up to me I'd hire the best sound sound mixer, but I'm not the producer or director. Just to reiterate, I can't use the Me66/k6 mic and boost the audio levels within the camera (even if the track is low, it would still be helpful to me)?

Hey guys, Anyway to do it without a mixer? Could this setup work http://woodencamera.com/A-Box-ARRI-Alexa.html and http://www.bhphotovideo.com/c/product/73100-REG/Sennheiser_ME66_K6_COMBO_ME66_K6_Super_Cardioid_Mic.html The k6 is a preamp right?

Multitrack or multichannel? Not sure, multitrack I think. What I want is for each mic to be on it's on track but all contained within one file. So when the editor drops the one file into the timeline, all the tracks for that take show up and are connected. When it comes to the exact range, I certainly understand that it will vary based on the noise level in the environment, I just want to avoid stuff being recorded at -32db like last time. I know most professional sound mixers wouldn't do that but I'd rather not take a chance. So would it best to put something like sdog says "Record as far above the noise floor as you can possibly get without clipping"?

New show coming up and this time I'm sending a list of what we want to the sound mixer. 48khz/24bits Polyphonic Wav Dialouge -14db to -10db peaks Anything else I should include? I notice some sound mixers will label the audio files with the take names and some don't. As a sound mixer what would you like to be listed?

I am a writer, a doctor, a nuclear physicist, a theoretical philosopher, but above all I am a man. Hopelessly inquisitive man, just like you.

I'm also a little cautious of production sound recorders, who think they know what will work in post. The guy claims if exported with plugins from a DAW, the levels can be raised without adding as much noise. He might be correct, but the tracks should not have to be brought up that much in the first place, or outputted with any plug ins. Just record the strongest, cleanest, most natural sounding signal. How is this my fault? Especially if I come on after the production wrapped. I'm sorry but there is a certain level of competence one expects out of a sound recordist: 1. They should be recording at decent levels without peaking, what those levels should be is debatable I guess but anywhere from -18 to -12db and most everyone would happy. 2. They should not record below 48k 3. They should have an actual sound recorder and not a DAW. #3 has been a big effciency hit, because it can't do polyphonic wavs, and it doesn't always label the takes appropatly. I said, I would say it sounds acceptable, perhaps with a good post sound hire, it could probably sound good. Boom was not used for every take, sometimes just lavs. Wide shots - boom can't get close, so have to rely on lavs. There isn't one, It would be good to have a post sound specialist, listen to and evaluate the files.

Let say there is a scene with 5 characters who will be speaking, standing around a mid size room. You're going to get a wide shot and then coverage. Traditionally, would you put a lav on all 5 characters?