FAQs

What format is the sound you deliver?

How do I sync sound in telecine with the sound you deliver on disk?

Is file based recording as reliable as DAT?

How much do you charge for expendables?

Do you still do post-production sound?

What format is the sound you deliver?
I deliver audio files recorded in Broadcast Wave format (BWF or BWAV). Broadcast Wave is an industry standard audio file format that contains metadata (timecode, scene, take, note, etc.) and is compatible with Avid, Final Cut Pro*, ProTools, Nuendo and many other DAWs. Each take is a separate file; for Sound Roll 2, Scene 30A, Take 2 there would be an audio file named 002-030A-002.WAV. These files can be delivered on CD, DVD-ROM, DVD-RAM or Firewire drive. I usually deliver on DVD-ROM in UDF format (Universal Disk Format, compatible with Mac, PC and Fostex equipment used in telecine).
*While Final Cut Pro can import and playback regular BWF files, it cannot read the timecode and metadata of these files. However, using Metacorder I deliver BWF files with embedded iXML metadata and Quicktime timestamps that FCP can read. In addition, Metacorder creates an iXML log file that greatly simplifies the import of an entire sound roll.

How do I sync sound in telecine with the sound you deliver on disk?
Any telecine facility equipped with a Fostex DV-40 or DV-824 (pretty much any facility in the Los Angeles area) can sync sound I deliver on CD, DVD-ROM or DVD-RAM. The process is very much like syncing sound from DAT (but faster) and requires shooting with a timecode slate (I provide). It's important for me to know if you're planning on syncing sound in telecine so I can ensure disk compatibility. I'm also happy to provide a test disk for the telecine facility before production begins.

Is file based recording as reliable as DAT?
First of all, who said DAT was reliable? Seriously though, file based recording has been around since the mid-80's and has been the standard for post-production sound for many years. Today's production recorders are task specific, designed for the extreme conditions of production work and are more resistant to some of the vulnerabilities of DAT, such as dust and condensation. My Metacorder system records to two drives simulatneously for renduncy. Including the delivered DVD, there are three copies of every take at the end of the day (on three seperate disks). In my experience, recording to disk is at least as reliable as DAT, and with these backup methods, the chance of data loss is virtually nil.

Update 9/14/07: I'm happy to say this question really doesn't come up much anymore. Non-linear recorders have become the new standard in Hollywood, providing higher audio quality, greater track counts and tons of time savings and convenience in post.

How much do you charge for expendables?
Download the current pricelist here.

Do you still do post-production sound?
Many people know me as a sound editor/supervisor, but my primary occupation has become production sound and I love it. We moved the studio from our office in Burbank to the guest house of our new home in Sun Valley. In the next few months (as my schedule allows), I hope to have the new studio up and running and I will once again be available for post sound work. My setup will be perfect for sound editing, mixing and sweetening of small projects as well as sound editing, sound design and sound supervision for theatrical releases. There will be an announcement on this website when the new studio reopens for business.

Got a question? About myself, my equipment or film sound in general? Email me: info@sonicpaint.net