"No-Lo" System Requirements

[moblues]

Hi everyone,

I'm writing songs for a indy horror film and have been asked to do some Foley and ADR for the film. I want it to be as good as possible and my main concern is frame accurate sync. The editor is working in the latest version of FCP. Production audio was recorded at 24/48. My system is (or will be) as follows:

Mac Dual 1.42/2 meg RAM
OX 10.411 PTLE 7.31
Digi 002
DV Toolkit
Glyph Firewire 80 and 320
Rocstor 1 TB
Mackie 824's
Radeon 9800
Dual HP 20" Displays

1. What else could or should I get to work with a "no-lo" budget film?

2. What file type/format should I request from the editor? Hand-off sheet?

3. Should the QT movie live on a firewire drive or the hard drive for best workflow?

4. Will the resolution of the QT movie be good on the HP 20" and will the S-video out on the Radeon work with a good flat screen TV?

I have a MacBook Pro as well if that would serve any useful purpose in the mix so to speak.

I've been reading David Lewis Yewdall's book as well as John Purcell. I'm concerned about it all working with my current system and it's limitations and trying to head off any problems in advance.

I look forward to any advise!

moblues

[timothyd4y]

I think your setup is fine for writing, sound design and recording ADR. I would have some minor concerns if you were planning on mixing the whole project, but for what you are trying to do, I think you are good to go. To address your questions :



1. What else could or should I get to work with a "no-lo" budget film? You'll need a good mic or 2

2. What file type/format should I request from the editor? Hand-off sheet? I'd request a nice sized (640x480, moderate bit rate) H.264 Quicktime file from the editor. I'd import it into PT and use the existing "rough" audio for all your tasks. I'd send .wav files back that start on the first frame of the QuickTime and end after the last frame of Audio (Stereo Music Mix, a few pairs of stereo foley, and mono ADR tracks).

3. Should the QT movie live on a firewire drive or the hard drive for best workflow? Either will be fine, though I'd keep it within your PT session folder.

4. Will the resolution of the QT movie be good on the HP 20" and will the S-video out on the Radeon work with a good flat screen TV? The 20" HP will be fine, not sure about the S-Video out, should be OK.

Good luck and enjoy the project!

[moblues]

Hi Timothy,

Thanks for the info. Production audio was shot with a Sennheiser 418. I'm going to be using a 416 through a GML for ADR. I've got several common recording mics.

Just a few more questions for anyone.

1. Since I'm working in non-linear will the film come in several "reels" or will I be working with the entire 90 minute film?

2. Is the QT movie actually part of the OMF file?

3. Will the time code be burnt into the QT movie or will I need to request it?

4. Are there still issues with wav files vs. aiff files in FCP?

5. Should I rent a Syncheck and check for any system latency. There should be one here in Nashville.

Sorry for all the newbie questions and thanks for the help. Trying to make this a good as possible.

Thanks!

[timothyd4y]

1. Since I'm working in non-linear will the film come in several "reels" or will I be working with the entire 90 minute film? You'll want a fine cut of the film as one QT file with embedded audio.

2. Is the QT movie actually part of the OMF file? No. They are separate. But you won't need the OMF as you are just adding audio, not mixing. So you wont need any discreet production audio that the OMF would provide. Just request a version of the QT file has any place-holder music removed.

3. Will the time code be burnt into the QT movie or will I need to request it? It may be burnt in. If not, ask what TC location from FCP the QT file starts at, line up your Video track, and the stereo audio you have pulled from it during the video import process, and as long as you are at the same frame rate as the FCP session, than you are good to go. Their ADR notes will line up with your timeline.

4. Are there still issues with wav files vs. aiff files in FCP? Used to be limited to 16bit AIFF files, but this has probably changed.

5. Should I rent a Syncheck and check for any system latency? No

[Sonsey]

Hi Timothy,

Thanks for the info. Production audio was shot with a Sennheiser 418. I'm going to be using a 416 through a GML for ADR. I've got several common recording mics.

Just a few more questions for anyone.

1. Since I'm working in non-linear will the film come in several "reels" or will I be working with the entire 90 minute film?

Depends... If it was shot on film and will be finished on film, then the editor is cutting in "reels" and you can use them. I'm guessing on a lo-no horror project the answer is no, so it really is up to you. I like to split features into two chunks, just for ease of use, but you can do it all in one if you like.

2. Is the QT movie actually part of the OMF file?

No... a separate QT will have to made. With all respect to Timothy I might suggest that MPEG codecs such h.264 are NOT the best for this sort of work... DV or MJPEG will probably give you the best results...

3. Will the time code be burnt into the QT movie or will I need to request it?

Request it... Editors SHOULD ask about this, but most won't so make sure you request it. While you're at it make sure you have all the framerate questions nailed down BEFORE you begin...

4. Are there still issues with wav files vs. aiff files in FCP?

Sometimes yes, sometimes no...a lot depends on the system, the editor and the project...Be prepared with your files in both just in case

5. Should I rent a Syncheck and check for any system latency. There should be one here in Nashville.

If you can, do it... you'll KNOW rather than GUESS your offset.

Sorry for all the newbie questions and thanks for the help. Trying to make this a good as possible.

Thanks!

Lo-No Horror's are at the very least, a lot of fun, at least if you like the genre... have fun!

[Craig F]

1&3) you should talk to the Pic Editor about what you want and need. Reels are more manageable but a single session is easier to make adjustments also it will depend on if it will be a film or video finish. I prefer TCBI of the correct rate and start point.

2) usually not

4) I don't know

5) if you can do rent one

[moblues]

Thanks for the help Timothy!

[moblues]

Thanks everyone for the input. There is a ton of information in Yewdall's book but you technology changes so quickly I want to be up to date on everything. Thanks to everyone I will hopefully have some intelligent questions for the editor.


I'm going to request TCBI with the correct frame rate and start point. I have read several posts that the DV or MJPEG format works best so I'll check that out.

I'll check and see if the project is going to film. Seems like working in "reels" or chunks would be less strain on the system.

I'll ask the editor about the bit-rate for the audio for FCP.

Thanks for the help everyone. I'm working with some very passionate and talented people for this project. I enjoy writing and recording music but the thought of building sounds of a cross being burnt into flesh or a stake through the heart really gets my blood flowing if you'll pardon the pun.

Thanks!

D. Hall

[jeremiahmoore]

Just a comment: While H.264 provides high quality per file size, it's not ideal for protools since it uses interframe compression.

Instead, for PT use MJPG or DV. They compress each frame individually, which means less CPU load and thus lag when displaying randomly-accessed frames.

-jeremiah

[jeremiahmoore]

...oops, late on the draw. Didn't refresh.

As for ADR: the 416 does not always sound good when you're trying to match Dx recorded outdoors... being an interference tube design it gets "roomy" quickly. You might consider having a cardioid or hypercard on hand for ADR.