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JasonGraham
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#1
3rd August 2007
Old 3rd August 2007
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Post Production Computer

Hi everyone, for the next few years i'm going to be training for digital film production and post-production and want a system that will work well for that time(as we speak i have frozen ravioli cooling my hard drive, gotta read these boards somehow).

So even though I do have plenty of ravioli, what I don't have, is money, but I will work/borrow/beg for the right tools, so feel free to tell me the expensive option if that is what you believe is needed.

For awhile I may be the only person working with the audio except for music. So I will need to be able to record and mix on the same system, do all the foley and any ADR for the short films. As well as short length video projects that I may do on my own.

This is what I have so far.

1 Mbox with protools 6.9 LE
Vocalign
Soundforge 8
Premiere 1.5

Studio Projects C1 mic
Homebrew boompole
Recording to a Sony Z1U camera at 48 24

A big question is PC or Mac. I enjoy the freedom the PCs seem to have and would not mind putting one together from barebones, but I want what will get the job done right and reliably, PC or MAC.

I am in no way tethered to pro tools either, if a better solution exists for any of these jobs I am all ears.
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3rd August 2007
Old 3rd August 2007
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if you're looking at primarily shorts and budget is a concern, if it were me I'd buy a used Powermac G5 (can get a decent box for about $1200-1500) which is dual processor and probably a few gig of ram. The dual 2ghz is still a pretty powerful machine and will work well for what you want.

I'd consider the upgrade to PT 7.3 because it allows insertion of more than 1 video file at a time

Adding either the music production toolkit or the dv toolkit will allow you to have 48 mono or stereo tracks and some nice extra plugins...the dv toolkit will give you timecode
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3rd August 2007
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3rd August 2007
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on mac you have the final cut advantage which is pretty cool editing program.
you could upgrade to an mbox 2 or digi002 rack that has firewire instead of usb1.

the dv toolkit is a freakin ripoff, but its very needed in post. there is a way to see timecode in LE which is to save a session in TDM/HD 1st so when u open it in LE u will see TC in the sub frames. but if u dont have a way to save in TDM/HD then its a useless trick. just wanted to share.

the above systems seemed good. a PPC g5 will still give u a lot of power. and if u mix a movie or something youd get the moneys back in no time.
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3rd August 2007
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And if you look around you can find better deals for a machine of that same spec. I've seen some great EBAY deals.
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3rd August 2007
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Just be careful that you buy from sellers with good track record. There are some sketchy deals out there. But I agree, you can probably find one of those dual G5s for less money.

I think the 002 is a good deal (get it modded. Makes a big difference). You might be able to find one of the 002 racks for $600-$800. Spend $500 for the mod and you're looking at a little powerhouse.

www.blacklionaudio.com

Steve
JasonGraham
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3rd August 2007
Old 3rd August 2007
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Thanks so much everyone. I mentioned I have that studio projects C1, and I really like the sound of it, but its a bit heavy on a boom. I heard some Oktava sound files and I really like what I've heard so far. The price and it's ability to multi capsule is also very cool(experience'd the short shotgun and echo). Does anyone have experience with these mics on location?
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4th August 2007
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Quote:
Studio Projects C1 mic
Homebrew boompole
Recording to a Sony Z1U camera at 48 24
I don't get what you are doing with this stuff. Are you recording production dialogue or are you recording FX and foley? Either way, that's a pretty funky rig. The C1 is a big old large-diapraghm, right? On a boompole? Pugged into a video camera? Please clarify what you are up to and perhaps we can help.

I would recommend finding a used Sennheiser MKH416. This a great mic for production dialogue, ADR, foley, and even VO. If you're on a budget, this is the ultimate workhorse mic for film post.

Quote:
A big question is PC or Mac. I enjoy the freedom the PCs seem to have and would not mind putting one together from barebones, but I want what will get the job done right and reliably, PC or MAC.
Wow, a PC or Mac debate. Surely you can't be serious! If you are, then I would say get whichever you prefer. However, be advised that probably 95% of post-production facilities in major markets in the US are using Macs. And, most amateur and indie filmmakers that you are likely to encounter will be using Macs and Final Cut Pro.
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4th August 2007
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Get a core2duo laptop. You'll be mobile, and still eb able to do all the thinsg you want to do.
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6th August 2007
Old 6th August 2007
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Quote:
Originally Posted by starcrash13 View Post
I would recommend finding a used Sennheiser MKH416. This a great mic for production dialogue, ADR, foley, and even VO. If you're on a budget, this is the ultimate workhorse mic for film post.
Aside from the likelihood that it may match the mic that was used on location, is there any other advantage to using a shotgun in the studio for ADR? I have a good collection of "studio" mics such as U-87, KM-140 and AKG 451, and since I don't do any field recording I've hesitated to sink any money into shotguns---but I've got a bunch of post work coming up and am reconsidering if there's good reason.

Any guess as to which non-field mic most closely matches the 416?
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6th August 2007
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Quote:
Originally Posted by seanmccoy View Post
Aside from the likelihood that it may match the mic that was used on location, is there any other advantage to using a shotgun in the studio for ADR? I have a good collection of "studio" mics such as U-87, KM-140 and AKG 451, and since I don't do any field recording I've hesitated to sink any money into shotguns---but I've got a bunch of post work coming up and am reconsidering if there's good reason.

Any guess as to which non-field mic most closely matches the 416?
Under o circumstances use a U-87 for ADR.
The best thing is a shotgun, and what we sometimes do is use a KM140 as a lav mic replacement. But we have it a few feet away as well.
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6th August 2007
Old 6th August 2007
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Quote:
Originally Posted by seanmccoy View Post
Aside from the likelihood that it may match the mic that was used on location, is there any other advantage to using a shotgun in the studio for ADR?
Matching the production sound is the primary factor in choosing a mic for ADR. Of course all shotguns sound different, but a 416 will get a lot closer than any of the mics you mentioned.

Quote:
I have a good collection of "studio" mics such as U-87, KM-140 and AKG 451, and since I don't do any field recording I've hesitated to sink any money into shotguns---but I've got a bunch of post work coming up and am reconsidering if there's good reason.
I agree with Hench that a U87 for ADR is a bummer, but I'm also not really a fan of U87s in general. I've alway thought that they sound too flat and bland for anything other than very mainstream music vocals. I know most people love them and they are industry standard for many applications, but I've never gotten satisfactory results personally.

I have a 416 that I use all the time and I love the sound. Not as warm as a KMR81 which is also a great for dialogue and foley, but everything I've recorded with the 416 just fits right into the track. Even though it's a shotgun, it has also become an extremely popular mic for VO which was why I recommend it to the OP as a great all around mic for post.
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6th August 2007
Old 6th August 2007
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Thanks, good to know. I'll be keeping my eyes open for a deal on a 416.
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