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Found 14 results

  1. I came across a new product, VoiceGate from Accentize. The name is misnomer: it's not a gate, but a NN-driven dialog v noise separator. Same category as iZotope's Dialog Isolate module, and Audionamix' IDC, but with some major differences. Runs very efficiently as a channel insert plug-in, or in an offline window. They've been fine-tuning the beta - and I've found them very flexible at taking user suggestions (plus adding features I hadn't thought of). Should be shipping in a week or so. I just posted a hands-on of the beta with before/after audio samples, in a thread at Geekslutz.
  2. (Note on subject line: I'm referring to this current posting. General comments about my sanity may also be accurate, but I already know I'm cuckoo.) A producer that I like came to me with a semi-freebie: a two hour theatrical documentary about a 50-year-old piece of American history, with lots of contemporary interviews with the folks involved plus historic clips. He's also licensed some scoring from a 1960s mainstream feature as a contribution. I like the guy; he's given me real projects in the past, with real budgets and real schedules, and I want to do this one.
  3. Every post suite I've ever worked in has had aggressive air conditioning. (Dub stages? Not as much. I'm talking about video-style pix or audio rooms.) Clients have often complained about about the temperature, and would ask me to make the room warmer. But mostly the female clients. (After the session I'd have to turn the 'stat back down to make the facility's CE happy.) Some theorists maintain it's because corporate men usually have to wear suits - or at least buttoned collars and ties - while corporate women (even highly professional ones) expose more skin. But in a po
  4. Fascinating article in today's NYT about neural networks generating still images of faces with no 'uncanny valley'. But buried in that article is reference to work at University of Washington last Summer... that automatically edits lips to match a different track! Literally puts new words in someone's mouth. On a computer screen, sync looks absolutely realistic. Resolution might not be enough for a big screen... but these things tend to leap forward quickly. Here's a link just to the UW demo. They took some real Obama speeches, and put them into multiple other Obama faces. Sa
  5. Hi All, Post Production Audio Question: I have come across some post audio workflows and the topics of submix, buses and loudness normalization. It's a side of post audio I have not seen and it does provide cleaner and fuller audio, but I do have some questions about this workflow: To do the EQ, noise reduction, desses, etc.. for each audio clip is better to do a submix bus for each audio clip and do the EQ and other stuff OR do a submix bus for that one track and do the EQ and other stuff? and after the submix bus then do the loudness normalization? Any answers a
  6. My PT session for a short film has several audio tracks, and at some point I imported an OMF from the foley department. I worked directly from this OMF (maybe the problem started here?) with editing, processing, etc. Now that I was saving a copy of the session to another location, I was surprised to see that it required around 250 GB, where the Audio Files folder only was 16 GB. Not knowing where the issue was, I still made the copy. Later on, checking the Audio Files folder of the copied session, I had over 400 instances of the OMF, all with the same creation date and most of them with
  7. There is a scene in Batman V Superman at Lois Lane's apartment bathroom. Noticed underneath dialogue there was taxi car horn noise. Was just checking to see if there was a discussion on that decision. Whoever made that choice really set the scene really well. You didn't have to say it was Metropolis, it sounded just like New York. Was there any back and forth about laying more noise under dialogue? Or was that one of many honks from on location where more noise needed to be added to match unavoidable set issues?
  8. Hi all, I´m have a "small" problem. I have quite a few polyphonic audio files (22 shooting days!) witch have no Production Mix tracks (Boom mix and lav mix), I have a long shot way of doing this in Wave Agent and ProTools (Bounce new mix files in PT and Combine that with the orginal in Wave Agent later. The problem is that the editors want the tracks in a specific order that I can´t seem to be able to change, making the files in wave agent. Although the option seems to be there, the order always stays the same. So I guess my questions are: Has anyone had to do this as well? Can you guys think
  9. Just wondering about how to handle the 60 seconds of tone (-20dBFS/ roughly -20LKFS) and 30 sec of silence before the program starts when measuring/ correcting loudness to a target value of -24LKFS. The 1770-3 standard gates for silence but doesn't ignore tone so the integrated loudness will be skewed by that tone if included in the file to be measured/ corrected. I'm mixing close to -24LKFS by ear, doing what I've always done but I want to include a render for loudness to get as accurate as possible using RX5's loudness tool. If I include tone in the file (like I always did in the past) it'
  10. I threw this together to accompany my Producing Great Sound book. It uses convolution modeling to create random room tone. Load a clean, breath- and noise-free sample from the production track (15 frames or so). The sample isn't repeated, just used as a model for timbre. So the output doesn't sound looped. I've used this (or a similar process) on a bunch of projects over the past year or two. Sounds fine, even in a theatrical mix. Free, open source VST or AU plug-in. Runs in Macs only, and requires you load the free open-source SonicBirth first. Full instructions with the downlo
  11. Cross post from DUC - Hi All - Hoping some of the helpful folks here can help me wrap my head around an issue I'm up against. The Breakdown: Location: Working on a doc that has some unique qualities. 28 tracks of music (live performance) were recorded live - I fed a mono mix to the main camera during the shoot, I also received a mono mix of the Dx mixers tracks during the performance. Post: I was given an OMF from FCP 7 that has a stereo music guide track, with each "song" clip having been re-named by the editor (sequential numbers at the end of the file name - editor was a
  12. http://www.youtube.com/watch?v=O8PQ1vcTaoI
  13. Has anyone heard of this software from Adobe? The demos sound too good to be true. I'm with Rainn Wilson, "I don't believe it." Mark O.
  14. Hey guys, Just wondering which among you do sound reports manually with pen and paper or do them electronically with a laptop, iOS device, etc. (or who doesn't do them at all? I.E. OMB? Reality Shows? etc.) Also wondering how often you put a reference tone file (-20dBFS) in the daily folder for post? Is this still needed usually? Thanks Guys!
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