[Peter Groom]

I dont know of any software that will do this for you, but Id suggest putting each character on a different track in the edit (picture) and then import multiple tracks in an OMF or aaf, hence keeping the characters separate?
Peter

Post Production Dubbing Mixer

[Peter Groom]

Hi
to answer your actual question about aaf.
I suspect that in your AAF export settings window, you have “copy complete Audiofiles” selected in the Render field??
If you change this to “trim audio Files” this allows a Handles frames entry to be made.
As a dubbingmixer Id recommend 50f unless your sound man asks for different, and make sure you EMBED the audio in the Files Window.
That should do it.
Peter

Post Production Dubbing Mixer

[Peter Groom]

I agree with Richard.
The ballistics, even type of meter on the recorder, and the graticule vs the nle can be completely different.
1 k calibration tone at a known value is what you need
Peter

Post Production Dubbing Mixer

[Peter Groom]

I think you have 2 things here.
1) The 2 devices werent able to be started at exactly the same moment so you will always have an offset or error of up to 1 frame no matter what you did.
2) You are trying to sync the slightly different files in a video NLE (premiere) which is only meant to work in + or – 1 frame intervals, which is remarkably crude in audio terms.

If you give it to someone with a proper audio NLE like Pro Tools they will be able to slip 1 audio track relative to the other in increments of + or – 1 sample hence getting a perfect sync.

Peter

Post Production Dubbing Mixer

[Peter Groom]

Hi
I don’t think its anything that Sennheiser are saying you cant do.
I think its the Radio Frequency allocations in different countries, and how the spectrum is split between different users that dictates what frequencies can be used in say the UK, but not elsewhere (legally).
Peter

Post Production Dubbing Mixer

[Peter Groom]

Hi
Richards advice is, as usual, great. You wont get a London sound eng for that budget especially carrying 4 radio channels.

Id add that, if you feel that your clients expectations and requirements are above what you can deliver, either ability wise or budget wise, you should always be willing to WALK AWAY. If you go ahead, fail to deliver then they will more than likely be un sympathetic.

Def lav mic on every person. You can hire wireless mics in London very easily and they can be plugged directly to your 4 camera inputs available but
1) youll not be able to monitor all channels so bear a risk
2) have a large job in post edit to sort out the audio and close the non used mic channels or live with horrible colouration.
3) accept that the 2 camera audio file will NOT sync up exactly in your edit timeline as the exact moment will vary when you press record on both cameras, so the exact frame start will vary up to 1 frame causing a metallic feel with more mics left open than the one being spoken into.

Id consider WIRED lav mics if people can cope with movement being restricted. ECM77b s in London are about £15 per day!

Peter

Post Production Dubbing Mixer

[Peter Groom]

Been following this thread interestedly, but I find it interesting how the discussion has become soooooo high end detailed in the finer points of mic choices etc etc, when the starting point was such a low one about gun and run onboard mics?
Come a long way.
Peter

Post Production Dubbing Mixer

[Peter Groom]

Ive had avid for well over 25 years, and have never had any sort of “recommended” system, or video card in my home system, and have never had an issue.
That said, as my home machine is merely a home hobby, and my objection to the support contract, I have now dropped off the upgrade route so have stopped at v8. So newer versions might be more picky, but I doubt it.

Peter

Post Production Dubbing Mixer

[Peter Groom]

Isotope can likely get rid, or help but-
1) Its a complex tool (like spectral layers) and so without someone who knows how to work it I doubt youll have much success
2) Its costly (like spectral layers)

If you really want rid, youd be better giving it to a pro studio to fix, and better still, make sure that whoever shot it with sweeper in the bg gets fired so you dont have this ridiculous situation again.

Post a short sample so I can hear the issue if you want to to see if i can help

Peter

Post Production Dubbing Mixer

[Peter Groom]

Hi
I agree (as usual) with Richards comments.
Often the world just doesn’t work the way you’d like it to, which can be frustrating, but usually for good reason.
Peter

Post Production Dubbing Mixer