[Peter Groom]

As no one else has chimed in, Ill contribute.

Personally Ive always done ADR in a booth. A decent acoustic studio space with the same mic types as the field record can make good ADR recordings. Then its down to nifty editing, flexing, eq, reverb addition and mixing with the other elements, and you should be able to get it matching.

BUT if your room has an interior ambience about it then youre in trouble.

My experience of outdoor recording is that almost nowhere is truly quiet. Its advantage is it has no room, but there will be a lot of other things you prob dont want like planes, cars, birds, industry, farming etc etc. Plus using ADR tools like streamera becomes much harder in the field (literally)

I think the real reason why ADR is traditionally a studio discipline is that operators like me cant be easily removed from a studio environment with comfy chairs, air con, ambient lighting and easy access to coffee.
Peter

Post Production Dubbing Mixer

[Peter Groom]

how did you erase the zoom.
if you reformatted then yes youre goosed.
If you have made any other recordings then youre likely goosed

If neither, and you just, for some reason that you wont be able to understand yourself, deleted the file, then it will still be on the card and a data recovery place should be able to get it back.

It will cost you, but a cost to the wallet is usually the best way of cementing the learning process so you dont make the same mistake ever again.
Peter

Post Production Dubbing Mixer

[Peter Groom]

Look at z planes ppmulator.
Peter

Post Production Dubbing Mixer

[Peter Groom]

Ok well if youve eliminated phase cancellation as the reason why your effect is disappearing from the mix on certain listening devices, and it is there on others, then it can only really be the capability of the device. The effect is VERY low and really should be used with a sub bass speaker to attempt to reporduce it. It may be that you have just to choose something that has more content higher up the freq range so you can hear it on the required speakers.
Peter

Post Production Dubbing Mixer

[Peter Groom]

Ok
1) only some speakers will even attempt tp playback such low frequency content.

2) Does it still disappear if you drop 1 leg of the stereo file OFF completely and pan the remaining one centre.
If it is present after doing that, Id rekon its phase cancelling its self out so you must be monoing it up somewhere.
To not mono it, check the panning is hard left and right, or go for it mono panned centre.

I dont have access to any phase meters where i am now so i cant meter it to sy for definite.
peter

Post Production Dubbing Mixer

[Peter Groom]

What is “plenty”.
I mixed a stadium concert. That desk had plenty of capacity but a bit overboard for a school.
How many channels exactly do you need now, and how many perhaps going forward. How many monitor mixes do you want to set up. Does it need any onboard effects???
Peter

Post Production Dubbing Mixer

[Peter Groom]

HI
Im writing this in a hurry as Im sitting on a plane awaiting take off.

Ultimately unless you want to cost yourself a LOT more than necessary in the post audio, then you need to invest the time and effort in importing all the audio assets into Premiere (if you must) and then working with those audio assets in the cut.
An AAF ir OMF is what the sound mix will be looking for ultimately and thats going to involve them in the least amount of effort = time = cost.
Picture wise Id speak to the post mix house and ask them what their preference is for a picture file.

id also strongly suggest that the editors place any useful wild track / atoms track on the sequence on a sep track where the sound post guys can easily find them = quick = cheaper.
Other than that I think youre generally on the right track. just make sure that everyone in your edit team is aware of the modus operandum youre adopting and everyone keeps to it religiously.

You could do worse than speak to the sound editor / mix engineer and ask him how hed liek his tracks laid out. You could thentake your final edit, duplicate it and organise it for him, lessening time and cost.

Off skiing now!
Peter

Post Production Dubbing Mixer

[Peter Groom]

Ok
Im not familiar with your setup or software so in general terms.
Start at the Computer

What video capture card are you using and will this accept SDI (serial digital Interface) video either HD or SD. If it will then great. If not, then either you need a new capture card or ditch the sdi digital video idea. Whatever way, the camera feed needs to get into the computer via the card and these must be compatible.
If it wont accept sdi then you cant embed the sound at the camera, so your sound will have to go into the computer separately and likely be out of sync with pictures.

If the card will accept sdi, then you can take th output of your sound mixer LINE LEVEL into the cameras LINE LEVEL inputs. The camera like an ex1 or ex3 will embed this audio into the picture feed so it goes into the computer via this route and nOT from the mixer. Sync then should be automatically taken care of by the capture device.

Many other cameras will support line in. Youre basically looking for a camera with and XLR audio input on it AND a switch between LINE and mic levels. These will tend to be of the nmore pro end.

Peter

Post Production Dubbing Mixer

[Peter Groom]

Are having a camera problem here or an FCP problem?

Was the audio panned successfully in your headphones AT THE CAMERA when you recorded. If so then you DO have split track.

If it is just that when it hits FCP timeline it not as you expected then select the audio track in FCP so its highlighted, modify, stereo pair and un pair the 2 tracks. Now the 2 tracks on the FCP timeline will behave separately.

Now establish if the audio is truly MIXED in which case youre dead in the water as far as the recorded audio is concerned, or merely panned centre so they sound combined / mixed but are indeed separate. Play a part with 1 person speaking and open the audio mixer tool and drop the fader on the other!
You can ofcourse pan them left and right if that helps. This can be done in the modify menu of on the audio mixer tool.

Peter

Post Production Dubbing Mixer

[Peter Groom]

Hi
A common issue with streaming is that the audio becomes out of sync to the pictures as they are delayed. A good trick is , to avoid having to delay the audio, put the audio feed from the desk directly into one of the cameras. Then allow the camera to embed the audio into an hd Sdi signal, which will then be and led by the encoder and be automatically delayed correctly.
So I’d check you can run Sdi and get a camera that does this. Perhaps the Sony ex1 or ex3
Peter

Post Production Dubbing Mixer