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Bridging the Gap from Production Audio to Post


Jeff Wexler
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Local 695 held a seminar at Kingsoundworks in March, 2015. "Bridging the Gap from Production Audio to Post" discusses many of the topics we have been discussing here regarding metadata and also the issue of whether we need a mix or not. Local 695 has graciously made this video available to JWSOUND members.

 

 

Watch on YouTube also

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  • 1 month later...

Wow I watched all in one go.

A shame that the clip examples were not fed with a D/I so we could really listen on our HD-25's

Fairly basic hints mid way but some quite sage stuff towards the end.

Not earth moving but worth a watch, we can always learn from the post perspective!

 

mike

Edited by mikewest
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We did learn that a small percentage of our work over the days of a shoot is actually used.

We were told that therefore we should not worry about bad sound takes or wide shot coverage.

My policy has always been to achieve whatever the shot even if it is to over achieve.

Ask the director how much dialogue of a wide shot may be used and cover it.

You are judged by your effort and results and not by your reliance on close ups and the skills of post production

 

mike

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Finally  had a chance to watch this.

Interesting to see him pretty much start of with tellIng the group he doesnt use the mix track.

He pretty  much says what I have said. Starts with the boom, and goes to the lav when there's a problem.

The only thing I found shocking was at 46 mins, where he says they have a highpass filter at 180-200. 

That's way too high. That would remove all of the warmth from the dialog. 

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The only thing I found shocking was at 46 mins, where he says they have a highpass filter at 180-200. That's way too high. That would remove all of the warmth from the dialog. 

Wow, I agree -- that is way too high. I typically record with a roll-off at about 80Hz, but not more than that. What do you guys normally use on the stage?

BTW, Mark, I'm watching The Last Ship and the sound is tremendous. You guys are doing a bang-up job -- really excellent work. Both sound and cinematography are as good as it gets on television, IMHO. 

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Wow, I agree -- that is way too high. I typically record with a roll-off at about 80Hz, but not more than that. What do you guys normally use on the stage?

BTW, Mark, I'm watching The Last Ship and the sound is tremendous. You guys are doing a bang-up job -- really excellent work. Both sound and cinematography are as good as it gets on television, IMHO. 

I have a rolloff at 80hz if there's anything In the bottom that is problematic I will use nothchfilters and  parametric eqs to deal with it. But chopping off everything even below a 100hz is a bit much for me.

 

Peter Nelson is giving us great tracks to work with, in spite of the difficulties he has to deal with on set. He's very involved on set, and it shows.

Edited by Henchman
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where he says they have a highpass filter at 180-200

I have seen NLE 'filters' with so gentle a slope (maybe 6 dB/oct) that you have to dial it to 180 before you hear anything at 90. Maybe that's what they're using, rather than something real. (The filters that came with my DAW can be dialed up to 48 dB/oct.) 

Or maybe he just misspoke.

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