Post-Audio Workflow for Documentary

[holymexicobatman]

Hey everyone, I’m working as an AE for a feature-length doc and I am wanting to gather some direction before we get too far down the rabbit hole in our post audio workflow.


Like most docs, we are shooting on a variety of formats but at least 85% of our production workflow is C300 footage and 5-channel mono from a Nomad field mixer/recorder. Other times we have 5D’s, GoPro, iPhones, and even some RED from scripted segments.


With exception to the RED footage, we are transcoding all footage to ProRes 422 HQ. But before we begin that process (475+ hours of footage), I wanted to find out the best workflow for audio.


We have a variety of situation/scenarios, such as Broll, formal interviews, variety(reality-style), events, etc. During formal interviews, a mix down was sent to cam A direct input while cam B had a scratch audio mic. During variety and broll the cameras were either scratch-only or no-audio, while the nomad was relied on separately. Timecode is helpful but unreliable since the crew was often in stressful situations and had no opportunity to jam.


All this being said, whats the best practice since we plan on handing off a picture-lock to a post-audio house for mixing?


Here’s my current guess:
1) Import all assets into premiere
2) Set up sequences as 7-channel mono for cam-audio and nomad combined
3) Sync audio to correlating footage (combined techniques of plural eyes, PP multi-cam, timecode, and manual claps)
4) Rearrange channels to ensure consistent assignments (boom on ch3, lavA on ch4, lavB on ch5, etc)
5) Export to ProRes 422 HQ. Keep original audio settings—48khz, 24-bit, 7-channel mono.


This workflow is likely going to be my life for the next couple of months…lol
Thoughts?

 

[Rick R]

Generally post audio requests OMF or AAF files after the picture is locked. Contact the post engineer for handle preferences, ect.v The OMF or AAF would have the original audio clips (either embedded or separate), the EDL timeline, volume envelopes, fades and some other parameters depending on the export/import conversion devices). A full-res picture is usually not necessary and would likely be re-rendered anyway to friendly PB format depending on the DAW. The picture should also have a rough audio mix for reference and sync check. Again, contact the post engineer for specifics.

 

[David W. Jones]

I agree with Rick.

 

[holymexicobatman]

Should I be worried about the timecode generated when I export my HQ ProRes files? Since cam tc and nomad tc were sometimes off, should I ensure that the transcoded video files adopt the nomad tc as it's new master reference? Not sure if I'm making sense, sorry...

 

[Noiz2]

Rick et all are talking about what you send to the audio folks and I believe you are talking about setting up clips before the picture edit.

If I'm right then having all the audio locked to the picture and with consistent track assignments would get you a keg of your favorite beer from me.

They are right that post will want an OMF, but that is from the edited picture, not from raw takes.

An OMF renames all the files so when it shows up in ProTools it's really hard to tell where the sound came from. Most of the time it's all over the map and you spend a lot of time just getting rid of the junk. Even knowing what is a scratch track with out having to listen to the clip would be fantastic.

Cheers
SK


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[ryanjf]

Should I be worried about the timecode generated when I export my HQ ProRes files? Since cam tc and nomad tc were sometimes off, should I ensure that the transcoded video files adopt the nomad tc as it's new master reference? Not sure if I'm making sense, sorry...

If you're going to lay all the audio channels from the nomad in the timeline in sync with picture, then I see no need for the video files to adopt the nomad TC -- though it would be a nice addition. Building sequences with all the audio channels from the noman in sync with picture is a huge help as it is. I think you're good for this documentary workflow. For non-docs, it would be a different story.

On a different note, I do have some issues with Adobe Premiere when it comes to handling audio metadata (scene/take/sound roll/timecode). I've done a few tests in the past, and I cannot get any of the metadata over from the sound recorder to the NLE to Pro Tools in good order. It's ironic since the folks that made Automatic Duck are supposedly on the Adobe team now?

If you have better experiences with this, please let me know. But for documentary work, scene/take/sound roll/timecode may not be all that necessary given your workflow. I've been trying to get in contact with anyone at Adobe regarding the audio metadata issue in hopes to improve it. Til this day, the Avid still has the best grasp on controlling/transferring/manipulating metadata in film workflows.