AudioMedia - June 2008 - (Page 40)

MERGING > gives us a tried and tested solution, because we know that Pyramix works, and we know that VCube works.” In essence, says Larrieu, “It’s a loop based automated transport and monitor switching s ys te m . W h e n I s ay monitor switching system, I’m talking about outputs to actual users, such as headphones for actors, headphones for engineers, and perhaps main speakers for studios, or cabin booths, or whatever other kind of monitoring output that you need to define – with automatic switching. ”This automatic aspect helps keep the engineer’s head away from the mundane – who wants to hear Orpheusrock122x173.qxd 28/05/2008 or see what, and when – and firmly focused on what’s being recorded. Spit Spot The ADR Package’s usefulness starts right back at the spotting stage. You can import well-formatted spotting sheets straight into Pyramix, if you’ve got a system that you prefer – it’ll import text or Excel-style spreadsheet data. You can do the spotting in the ADR Package itself, using automatic timecode notation along with the system’s transport controls. The all-powerful loop list window is also the spotting sheet, with lots of standard columns – not only to help the session along, but to help administration as well. The sheet can be exported as a PDF and printed directly from the session as updates occur, and 10:15 AM Page 1 even sent directly to billing. And because it’s linked to the session, it is updated along the way. For this, “With each talent definition comes defined physical inputs and outputs, all linked into the switching and monitoring system. You can even associate buss switches with the talent or with takes ” Orpheus - the ultimate professional FireWire audio interface by Prism Sound THE ULTIMATE PERFORMER With unbeatable sound quality, state-of-the-art clock technology, low-latency, flexible monitoring for control room or foldback Orpheus by Prism Sound is the professional’s choice. as well as many other aspects of the system, the custom keyboard comes into it’s own – with more than a little help from the jog wheel: “We decided that for ADR, we don’t want to have to make people learn Pyramix in a formal way,” commented Larrieu, “ just kind get them into ADR features, and ADR functions, very quickly. The keyboard has all the features that you need to run ADR.” It’s also in and around this loop list that some other important aspects are defined. The actors, for example, could have their real names as well as the characters in there, if that is more comfortable for them. Each talent is also assigned a colour. Thus, all the countdowns, wipes, and text (loop name, actor name, take number, and so on) are shown in that colour. There is even a coloured box on the loop list, and the colour is carried right through to the track colour in Pyramix. There’s also the script text, the scene (associated video clip), in/out points, reel (or episode or part, etc), status (done or not), and more. You can sort the list by whatever criteria you choose, so you could list in order of actor, plus the lines that aren’t yet done, and in timecode order, for example. Inside Pyramix, each actor is designated a ‘consolidated track’. All takes are virtual tracks that contribute to the consolidated track – either wholly (in the case of that perfect take) or in part (if you combine take edits to create the final take). The in-session advantage here is that there is one fader, one track, per actor. No matter how many scenes or takes there are, you always know where to find that actor’s fader and that actor’s consolidated track. With each talent definition comes defined physical inputs and outputs, all linked into the switching and monitoring system. You can even associate buss switches with the talent or with takes, so, for example, you could reduce crowd noise with a plug-in for a specific line during record, and that will be switched in or out accordingly. When it comes to video, the VCube system is the slave, and all the detail is still saved within a single session in Pyramix, so you don’t need several different files for a single ADR session. If there isn’t proper timecode with the video, Pyramix can add that for you, and even deal with the required offsets, etc. prismsoundrecording +44 1223 424988 +1 973 983 9577 www.prismsound.com/orpheus Email: sales@prismsound.com Contact us now to arrange your demo So, when the time comes to do a take, Pyramix jumps to the next item in the loop list and switches all required monitoring, inputs, colours, GPIO switches, and so on to the correct positions – and these could be different for rehearsal and actual take. The video is cued, and any on-screen text is coloured correctly. The actor sees the script line, the colour, and hears what he or she needs to. Through pre-roll, take, and post-roll, once again the switching matrix can customise what the actors, the engineer, the director, and so on, hear. When the first take is recorded, the consolidated track takes that as the chosen take and the engineer can opt to go again, edit, adjust in and out points, split the scene into more manageable parts for new, more focused takes etc, or jump to the next scene. You only have to remember to check the ‘done’ box. The consolidated track shows the final take, only expanding to show all takes when required. “So this is what would be exported essentially, either as stems to another Pyramix session or this > S ession O n 40 AUDIO MEDIA JUNE 2008 http://www.prismsound.com/orpheus http://www.prismsound.com/orpheus

Table of Contents Feed for the Digital Edition of AudioMedia - June 2008

AudioMedia - June 2008 Contents Recording Post Broadcast AES Review What's Up UK? Geofocus: Australia For the Record Special Report: Videosonics Newstalk: DPA New Microphones Novation SL Compact Allen & Heath IDR-8 Eastwest Quantum Leap SD2 & Goliath Final Cut: Indiana Jones Merging ADR Module Koolworld SSL Duende Good Product Sampler: Microphones Video Guide AMSR Meyer Sound The Blue Planet Live! Royer Labs Mics R-121 & R-122

AudioMedia - June 2008

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