[Peter Groom]

Hi Rx doesnt do OMF or AAF for that matter.
I think thats entirely right tho.!
An OMF would typically contain a whole sequences audio, where as you’d more likely want rx to work on 20 frames in the middle! I export an aaf if im on mac or bwav if pc and , or if youre a pro tools user you can open the tools inside PT as a plug in and stay inside PT.

RX really is a tool like a speciality spanner or side cutters. Its not something you use on everything or every job / mix. I dont use it like a a “go to” eq or compressor that goes onto every mix. Its something that I bring out when I need it, but sometimes I really need it and people gasp at the results.

There are a number of really good tutorials made by Mike Thornton of pro Tools expert. Theyre good for getting the most out of it.

As to wether its a good investment. For me like I said its something Id not want to be without, but may go weeks without using at all. That might be a poor spend in your opinion – but when that fix saves a re-shoot or you can de pop a recording that got loads of plosives, or remove a brake squeal in the background over the key words – it can pay for its self in 1 go and you’ll never consider the saving as worthwhile.

Personal opinions.
Peter

Post Production Dubbing Mixer

[Peter Groom]

There are users here yes.
What do you want to know?
Peter

Post Production Dubbing Mixer

[Peter Groom]

Surely pulling the plug out on these devices will tell you (and Im very sceptical) if they are your root cause?
Peter

Post Production Dubbing Mixer

[Peter Groom]

Sounds like something else is pushing over your tx.
Mobile phone or phones, or some other type of transmision / rf.
Also are you unbalancing the mic into a jack input on the camera from the receiver?
Does selecting a different frequency not help?
Are you definitely in a bank / preset that is correct for your territory?
For instance in the UK where I am, incorrectly selecting a bank can push you into a frequency set that is reserved for other high powered transmission systems (such as Emergency services, 4g etc etc)

Peter

Post Production Dubbing Mixer

[Peter Groom]

Or export an omf from pro tools of the audio sequence and then import this into avid media composer and enable all headings in bin. this then shows similar detailed data of the clips used, which bits and where in the sequence.
Peter

Post Production Dubbing Mixer

[Peter Groom]

you can use the
File / export/ session info as text function to generate just teh data that you need to identify which tc parts of the audio file have neem used and where in the sequence to speed up the syncing video back to them.
Still manual but not blind.
Peter

Post Production Dubbing Mixer

[Peter Groom]

This strikes me as 100% crazy
But seeing as you’ve started out doing this completely the wrong way round then you can try exporting an edl from pro tools or other ( if you must) and use those TV values to find the right material in the video edit

But this is crackers!
1 always record scratch audio on the video record
Sync audio in nle to pics
Cut
Export to audio as omf / aaf for mix
Peter

Post Production Dubbing Mixer

[Peter Groom]

Stereo is captured on set but as a wild track / ambience. This should contain NO dialogue what so ever. It is used in the mix for scene building.
As a mixer, i want nice clean, crisp, solid, well recorded mono dialogue free of background noise and ambience. ill decide where they go in the mix image wise.
Peter

Post Production Dubbing Mixer

[Peter Groom]

Personally( as a hirer) Id not want you processing or eq’ ing at all.

Id say
1) Get a good Neumann mic with a quiet pre (focusrite or similar).
2) Talent.
3) Room acoustics
4) Talent

Im far more likely to hire a sensational vo who has the right voice sound and performance ability, but poorer kit, than someone who has spent a fortune on kit but aint that good at delivering, or whose space sounds too live.
Also how are you connecting to the outside world.?
Peter

Post Production Dubbing Mixer

[Peter Groom]

Id presume he means 2 shotguns with 2 boom swingers making sure both are in just the right spot!.
If not – NO WAY.
Also, swinging a boom into a shot where the actors may well be up high on a horse is going to be tricky, and no movement possible.
Id think radios and an expectation to crack open the ADR tin on this one.
Peter

Post Production Dubbing Mixer