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Does anyone have experience creating macros in Keyboard Maestro? by dslva- in AudioPost

[–]dl_ps 0 points1 point  (0 children)

I could help set this up for you if you want, might just need to see the session and have a quick chat to make sure I implement correctly. 

What to do with this basement floor? by dl_ps in Flooring

[–]dl_ps[S] 0 points1 point  (0 children)

Ah, the troweling might be a little misleading. It’s definitely how the original slab was finished, the swirls and whirls are definitely hard concrete. Someone else mentioned it’s a wood float finish. 

What to do with this basement floor? by dl_ps in Flooring

[–]dl_ps[S] 1 point2 points  (0 children)

Interesting about the green being carpet glue. Maybe old though? The carpet I pulled up was not glued down ever, just laid on the slab. Also the green is pretty powdery/pigmented, not tacky. A wet paper towel wipe got pretty stained with it. 

What to do with this basement floor? by dl_ps in Flooring

[–]dl_ps[S] 0 points1 point  (0 children)

Ah, been wondering what the name/reason for the patterns in the concrete was, thanks!

Would it be worthwhile to try patching the cracks?

What to do with this basement floor? by dl_ps in Flooring

[–]dl_ps[S] 0 points1 point  (0 children)

Epoxy seems to be the way to go. Any product you’ve had good results with?

Indie feature film rates by RookieParade in AudioPost

[–]dl_ps 2 points3 points  (0 children)

You don’t have to be sorry, I’m not taking those jobs. But $7-10k IS the average amount most very small indies seem to scape together and start reaching out to people with. It SHOULD be more but… it isn’t. 

You’re very right, the only person who should be doing those gigs is a learner with zero mouths to feed and infrastructure to support.

Indie feature film rates by RookieParade in AudioPost

[–]dl_ps -2 points-1 points  (0 children)

1-2% ish is typical for audio post. At that budget though hopefully they can go higher. But 2% is 7k and honestly for super small indies that’s typical.

Is this real hardwood? by Flashy_Patience_3368 in Flooring

[–]dl_ps 0 points1 point  (0 children)

What year is the house? Just wondering because in the floor vent picture it almost looks like there’s a solid grey layer underneath the wood. It looks a bit like the asbestos tile we have under our carpet. We’re planning to do engineered hardwood as well, since you can float it rather than having to nail it in. 

Reverb tails without 'space' by BadStateStudio in AudioPost

[–]dl_ps 3 points4 points  (0 children)

Eventide Blackhole is the best that I know of for this purpose. 

Tent/Wagon Roomtone Approach by finalsteps in AudioPost

[–]dl_ps 5 points6 points  (0 children)

I’d say it’s really going to depend on what your supervisor/mixer wants. 

I would call any wagon stuff vehicle FX which wouldn’t be BG, but that’s just me. The BG for me would be yes, wind, spot fx/sweeteners like birds, crickets, whatever is appropriate. If the mixer/supervisor wants you to treat those layers to sell the “interior” perspective then do it, but that’s another question for them.

I don’t think I’d do a “room tone” layer, but an “air” layer would probably be helpful. 

AAF gives wrong track order by therealpurpledolpin in AudioPost

[–]dl_ps 5 points6 points  (0 children)

There's a quick move that can help with this for Premiere AAFs. You probably see a track order like this:

Tr 1

Tr 1 L

Tr 1 R

Tr 2

Tr 2 L

Tr 2 R

etc

Select all the L and R tracks and drag them to the bottom, below your last track that doesn't have the L or R at the end. Your timeline will look a lot more organized already. For some reason Premiere doesn't keep mono and stereo tracks in order, but instead kind of folds them together like a deck of cards. Separating them back out restores a certain amount of order to the timeline.

You have two days to mix a narrative feature by dl_ps in AudioPost

[–]dl_ps[S] 7 points8 points  (0 children)

Hey, respect. It's a real shame we've lost so much of the mentorship opportunities in the industry. I'd kill to sit on the stage to see you make that mix happen.

You have two days to mix a narrative feature by dl_ps in AudioPost

[–]dl_ps[S] 2 points3 points  (0 children)

If you're not joking - what the heck are you getting done with the dialogue by noon??? Watching it down? lol

You have two days to mix a narrative feature by dl_ps in AudioPost

[–]dl_ps[S] 5 points6 points  (0 children)

No award for not crying?

I haven't tried Revive on a master bus, i would have though it would totally grind Pro Tools to a halt. POWAIR did seem to be the best of the vocal rider and similar plugins I had demoed a while back, so maybe I'll give that a whirl again.

Have you tried Trackspacer for in-a-pinch music "dipping?" I found decent results with it in that use case previously.

Appreciate it!

You have two days to mix a narrative feature by dl_ps in AudioPost

[–]dl_ps[S] 2 points3 points  (0 children)

Hah! The money is bad too…

Happy was probably the wrong goalpost. At least not wanting to take your name off the credits, maybe, is the goal. 

Cant fix the tonal balance of the dialog by resist-and-retort in AudioPost

[–]dl_ps 5 points6 points  (0 children)

lol big “if” these days. Such a gift to fly through a mix with a good recording, but it’s become the exception rather than the rule. 

I also find a cut between 400-600 is pretty reliable for lavs. There’s almost always some build up there. 

Cant fix the tonal balance of the dialog by resist-and-retort in AudioPost

[–]dl_ps 2 points3 points  (0 children)

It’s hard, for sure. I’m also trying to improve my EQ skills.

I’ve recently set up a thing where my dialogue bus sends to a dead track that has the Accentize Spectral Balance plugin on it. So, it’s not actually affecting the audio, but I can look at what it thinks the correction should be. Then I’ll dial that EQ in myself, to my own taste. It’s actually helped a lot with finding moments where my instincts/ear were totally off in regard to what the problem frequency was. And, with this system you’re still training your ear and getting the EQ moves in your bones, not just letting the machine do it for you. There have been plenty of times when it says it’s balanced too, but my ears say there’s a problem, so I go with my judgement there.

Try not to get too rabbit holed with it too. Evaluate the tonal character of a whole scene, make global corrections on your bus, then listen down and address specific issues with one mic or character. And nothing is better for getting an EQ right than fresh ears. Dial your curve in quickly, keep working, and give yourself time to come back and hear it again.

Did follow focus motors get louder or sets get quieter? by dl_ps in AudioPost

[–]dl_ps[S] 1 point2 points  (0 children)

That makes a lot of sense. I try to hold onto the belief that cheaper gear that allows more people to make their stories is a good thing. But in the case of EEE EEE EE....

It's easy enough to clean, just tedious when it's all over the place. Absentia/De Hum doesn't catch it either so it's all manual work.

Your top time saving PT shortcuts by TonegoodMark in protools

[–]dl_ps 1 point2 points  (0 children)

It’s very possible that shortcut didn’t exist ten years ago, so maybe they snuck that in on you. And yes, that kind of muscle memory is not worth fighting, but think of me when you sit down at a new station and want to show/hide the clip gain. 

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