Dual System Sound - What's your workflow?

[Kalani Prince]

Editing clips via the timeline is wat too clunky and slow.. I still feel there's got to be a work flow that I'm overlooking entirely..

Can someone who's edited dual system sound on a narrative project chime in? It seems premiere would be a breeze seeing as how it's CS5 and all by now..

Maybe the editor of "The Social Network" could chime in on this as they stated they used Adobe from start to the very finish : ) There's no way he cut the dialogue scenes in that film by syncing RED to field audio in the timeline!

Must....find.....answers.... ;-)

 

[MichaelP]

Maybe the editor of "The Social Network" could chime in on this as they stated they used Adobe from start to the very finish : )

Social Network was cut on FCP, The King's Speech was cut on Lightworks, and the rest of the best picture/best editing nominees were cut on Avid.

I know that doesn't help in your quest for double system sound solutions on Premiere Pro though. Sorry.

Michael

 

[Rob Ruffo]

I don't' think Red audio is that bad and I have no problem monitoring it with headphones. I am not going to tell the sound person to not bring the Deva or 788, but your statement sounds like FUD to me.


Dusty

It's not fud. The sound on RED is passable, but it really does not meet exacting standards, whereas the video surpasses them. Yes we have the new soundboard. How do you monitor with headphones? Where is the headphone out on a Red?

 

[Dustin Cross]

There is a 3.5mm headphone jack on the side of the Red One. Controls in the camera for volume and everything. Works fine as return to mixers. Have you worked with a Red before?


Dusty

 

[joe hedge]

Social Network was cut on FCP, The King's Speech was cut on Lightworks, and the rest of the best picture/best editing nominees were cut on Avid.

Best Picture nominees The Kids Are Alright, True Grit and Social Network were cut on FCP

 

[MichaelP]

Ah - Didn't forgot about True Grit, and didn't know about Kids Are Alright. Thanks!

Michael

 

[Oliver Peters]

Maybe the editor of "The Social Network" could chime in on this as they stated they used Adobe from start to the very finish : )

Er... No. I'm not Angus or Kirk, but they never stated that. Here is the correct info:

http://digitalfilms.wordpress.com/2010/10/02/the-social-network/

- Oliver

 

[Kalani Prince]

Alright, thanks guys.. I'll keep searching for answers : )

 

[Bob Gruen]

Sorry but, much as the video in Red is beyond belief awesome - the best camera ever by miles and miles, the audio is substandard. It's really, really crap. In fact, it's worse than that. The DACs are mediocre at best, and you can't even monitor sound (at the source, which is not really the same as monitoring a mixer further up the chain) with headphones. It's easy to synch in post - just use a clapboard, or even just clap your hands.

What I have long wanted is the ability to make subclips from a timeline. I don't think this would be some amazing programming feat. As it is you can already use timlines (with re-synched sound and even effects and transitions) as though they were clips within other timelines - to be able to make subclips would increase the utility of this system far further.

I also find your condescending tone toward the OP unwarranted. David listens here, and it is only by users describing their needs that Adobe can make CS5 even better.

In what way was my post condescending? I made it as factual as possible describing the issues inherent to the software. I surely didn't say anything inflammatory, like calling something "crap" for instance...

BTW: There are 2 taps at which sound on the camera can be monitored, the aforementioned headphone jack and a 5 pin connector on the side of the camera. I use a purpose built ENG breakaway cable from Trew Audio that returns camera sound from the 5 pin to the mixer for monitoring, which leaves the headphone jack open. That way both the camera operator and the sound mixer can monitor the levels.

The trickiest part in using onboard audio recording is properly matching the levels and clipping thresholds from the mixer to the camera. It took me several hours to get mine right, and if I were handed a different microphone it would probably take me around 30 minutes to dial it in.

Bob