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Found 9 results

  1. (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. Along with very little money, he has very little time. I'll get about eight days for dialog edit, premix, M&E, and remix. Then it gets one very visible screening. After that, there'll probably be time and bucks to take it apart and tweak. (Even if not... as I said, I want to do this one.) Here's the rub: 1) He's reluctant to do a DCP right now, mostly because of the lab time involved. He's expecting to grab my final mix, hop on a plane, and be doing compression while he's flying to the venue. I know from bitter experience that anything shy of a DCP can be mangled by a theater's DVD or similar playback. 2) He doesn't want sweetening in the historic clips; just original footage as best I can clean it. He doesn't want scoring under the interviews; just the folks' voices. There's very little narration. It appears the only music, other than main title and credit, will be during interstitials and chapter break titles. In other words: very little of this show is stereo. None of it is surround. Since this scoring is all archive, probably nothing will hit LFE. What I'm thinking about is mixing the dialog as 3-track mono. Same material on all 3 tracks, maybe -3dB on the center one. The only time L&R will be different is probably during the title and credit. I'm figuring this will give me the best chance of everybody in the front row of the theater hearing a decent track. If I just mix in stereo with phantom center, I'm worried some decoder will decide to suppress the dialog (it's happened before)... or the theater's L&R mains will never be on because everything will be matrixed to the center (ditto). If I encode for the guy's DVD from this LCR master, maybe there's a chance all three front speakers will be talking. And, yes, I'll still try to convince him to pull a DCP. If there's not time for it at the premiere, at least for future exhibitions. Thoughts?
  2. 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 and suggestions are welcome. Thank you.
  3. Hi guysI'm doing some research on Foley for visual media for my final university project. If you have a couple of minutes could you fill in my questionnaire? https://www.surveymonkey.co.uk/r/MNBFGPQCheersMartynhttp://www.mgreenaudio.co.uk
  4. Hey guys, I get called out to do 2 person sit down spokes/interview stuff enough that I'm looking for a more robust solution to mount 2 booms overhead in a locked off 1 or 2 camera setup. Ideally I'd do this all from a single mount (like a C stand with an arm) but still have enough flexibility in the rig that I can position the mics appropriately without much hassle. These things are often in people's houses or in a corporate office somewhere, so portability and ease of setup is a factor as well. Any special tricks or pieces of kit that I should be aware of when designing a solution for this? Thanks!
  5. This is the 1st part in an ongoing weekly series looking at the audio post production workflow. We have enlisted the help of top end professionals in their respective fields to walk us through what they do and sharing some tips and tricks along the way. The series will be based on TV drama in the UK and these days takes a lot from the film workflow but also a lot of what applies is very similar in other genres all be it not on as big a scale. Part 1 - Assistant Editor, preping sessions Part 2 - Assistant Editor, preping sessions Part 3 - Dialog Editor, setting up dialog sessions Part 4 - Dialog Editor, preping for ADR and finishing the dialog edit Part 5 - Dialog Editor, marking up for ADR and handing on to the re-recording mixer Part 6 - ADR on location - part 1 Part 7 - ADR on location - part 2 Part 8 - Foley - part 1 Part 9 - Foley - part 2 Part 10 - Sound Effects Part 11 - Mixing part 1 Part 12 - Mixing part 2
  6. Um… this might go on a bit, anyways. I'd like to share the new AVID whitepaper on Digital Cinema Aquistition for discussion. It arrived yesterday and got me thinking about a few questions to put to the experts on the front line. My experience has been setting up workflow for films through Pre-Prod into Production and then completing Post Sound to delivery. A unique sound position, interfacing with Directors wants vs Producers needs, and all the R&D in between to streamline Camera Dept and Picture Editorial to Post Sound and Mix. This work has afforded me a huge respect for the Production Sound dept and I've been lucky to work with some of the best. The entire pdf is attached below but (to shortcut all the other BS) the paragraph I'm curious to hear any comments on is this... Audio Workflow Considerations Regardless of camera type, the decision between using a single or double-system audio workflow is based on a variety of factors, including crew size and budget. Single-system workflows can be considered more convenient, with picture and sound already in sync as part of the recording, but this method does come with some drawbacks. One particular challenge is that the camera operator will need to pay attention not only to composition, focus and movement, but audio levels as well. A double-system workflow solves this issue since there is a separate recording device and a person dedicated to monitoring the audio. Double-system recording also offers the advantage of being able to capture more than the 4 audio tracks typically found on digital cameras. Third party applications are often used as part of the dailies process and can provide the ability to sync picture to double-system sound. While many of these free applications are useful for creating “review” dailies not intended for actual editorial, they don’t usually parse or retain enough of the audio metadata, making audio conform rather problematic in post. My thoughts are... With the transition from film to digital acquisition it has always been a good idea to have embedded audio (even just the mix track) in the picture media. This has obvious advantages for dailies, etc, but more importantly as a safety check for Editorial against what the Sound Mixer is recording versus the Camera Dept. Having pretty much dealt with every combination of TC/fps/pull up/down/sample rate cluster freaks over the last 20 years this is hugely helpful when "fixing it in post". Usually the problem has been created in post by clever editorial software or inexperience when sound and picture come together. Sometimes from a problem in Production. Either way, too late to fix, make it work. There are a range of great products for returning the audio and TC to the camera, and some have hugely helpful metadata embedded which can be wrapped up in XML or MXF data to help out in post. For example linking camera audio to original Sound Mixer Media (TC and Userbits or Roll #) or as a safety check for TC slates to show what slate/take the mixer has used versus camera on actuation. Questions. Is technology at a level where we can reliably provide an AES return of up to 4 channels (preferably wireless with TC & metadata) to camera on the shoot day, so that the suggestion of the camera operator having to be concerned with levels is not an issue? If not then can the Sound Mixer be sending an AES feed to devices like the new range of Video Devices or similar for picture and sound capture, to avoid syncing dailies? With metadata to automatically relink to wider Poly Files. Is anyone doing this already and if so how is it working out? Some may be already be supplying this to video village. Sound rolls/splits would still be delivered later with sound reports, but as a secondary delivery for the wider discreet channels. Does this make your job easier or is it complicating things unnecessarily from your POV? I know how time consuming post sync of sound and picture can be with editorial trying to turn around the volume of media created with digital cameras. I also know how militant some Editorial Depts can be the first time a software link of TC and Metadata fails in post, and fair enough. How close are we to a workflow where camera audio is a reliable digital copy of the mix track (with TC/metadata) so that the camera guy can shoot, picture dept can edit, and soundpost can link to your discreet tracks with confidence in post? Thanks for making it this far, please chime in so I can give AVID some feedback. We assume too much in post. Also, thanks for this site Mr JW. It is a great resource/legacy for now and the future. digital_camera_workflow_whitepaper.pdf
  7. This article is a very light-weight account of the Sound Devices 633 itself but hopefully you will find it a little bit motivating and relevant more than anything :-) It's really about me in my country of New Zealand fighting the battle we all fight to get work, to stay on top of ourselves. It helps having this great little unit. http://schurrsound.com/2013/12/sound-devices-633-and-the-new-sound-workflow/
  8. Hi everyone, I want to share a new or alternative way of visually brainstorming workflow between your sound crewmembers. I've been a long time user of Google Drive (formerly Google Docs) because of how versatile it's become, especially with so much cloud and live sharing options. With it you have a solid word processing, spreadsheet, presentation apps, and now they have "Drawing" - a visualization app. So alot of the functions and shapes are also available on other document suites, but being able to edit and share this with other soundies and brainstorm via the cloud is great. You can even enable others to jump in and start editing the same drawing too. After it's done, you can save it straight to PDF or other formats. By the way the map above (WIP) is a pretty ballsy project I'm mixing in mid-May. One of those long one-taker productions. Yikes. ~ Matt
  9. So I just picked up a projectmix i/o for my studio and was wondering how others place their mixer in the perfect position so that they have easy access to the faders, buttons, and such. Any suggestions/pictures? I was thinking about an articulated arm or something that can swing in and out but I wondered how practical that might or might not be, soooo, I turned to the forum to see what others did to make it work better for themselves? Any and all suggestions would be very much appreciated! John (jgbsound) Oh and happy holidays to all!
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