Jump to content


Photo

Lip Sync in 16mm


  • Please log in to reply
8 replies to this topic

#1 Matthew Buick

Matthew Buick
  • Basic Members
  • PipPipPipPip
  • 2345 posts
  • Student
  • Newcastle upon Tyne, UK.

Posted 22 July 2006 - 04:30 PM

I am thinking about shooting my movies in 16mm, most probably with an ARRI 16S, ST or S/B.
I know these are noisy cams, is Lip Sync in post-production a viable poption?
  • 0

#2 Tim Carroll

Tim Carroll
  • Sustaining Members
  • 2165 posts
  • Other
  • Chicago, Illinois

Posted 22 July 2006 - 04:45 PM

I am thinking about shooting my movies in 16mm, most probably with an ARRI 16S, ST or S/B.
I know these are noisy cams, is Lip Sync in post-production a viable poption?


This has been covered quite extensively. Do a forum search. Here are a few links to get you started:

How to Dub Non-Sync Cameras

and:

Faux Sync Sound 16mm

-Tim
  • 0

#3 Chris Keth

Chris Keth
  • Sustaining Members
  • 4427 posts
  • 1st Assistant Camera
  • Los Angeles

Posted 23 July 2006 - 03:38 AM

Two questions apply:

How much time and money do you have budgeted for post?

How masochistic are you?
  • 0

#4 Matt Pacini

Matt Pacini
  • Basic Members
  • PipPipPipPip
  • 1246 posts

Posted 24 July 2006 - 06:43 PM

I keep giving advice NOT to do this, and so far, I think exactly zero people have believed me.

I've done it.
It's a freakin' nightmare.
It's NOT cheaper or easier to shoot this way!!!
Get a quiet camera. It's easier to shoot, post production is about 1/1000 the hassle, and results are MUCH better.
If you don't follow my advice, the amount of money and time you spend trying to fix the problem, is FAR in excess of the cost of getting a quiet camera.
It's not even close.

MP
  • 0

#5 Scot McPhie

Scot McPhie
  • Basic Members
  • PipPipPip
  • 211 posts

Posted 24 July 2006 - 09:07 PM

I keep giving advice NOT to do this, and so far, I think exactly zero people have believed me.

I've done it.
It's a freakin' nightmare.
It's NOT cheaper or easier to shoot this way!!!
Get a quiet camera. It's easier to shoot, post production is about 1/1000 the hassle, and results are MUCH better.
If you don't follow my advice, the amount of money and time you spend trying to fix the problem, is FAR in excess of the cost of getting a quiet camera.
It's not even close.

MP


Matt's dead right - I've never done a whole film this way but parts of it - and it is extremely hard and time consuming - it's quite possible though - but you'd probably find it's more time and cost effective to save for longer and buy a better camera and then go and shoot the film.

Scot
  • 0

#6 Leo Anthony Vale

Leo Anthony Vale
  • Basic Members
  • PipPipPipPip
  • 2010 posts
  • Other
  • Pittsburgh PA

Posted 25 July 2006 - 01:34 PM

I am thinking about shooting my movies in 16mm, most probably with an ARRI 16S, ST or S/B.
I know these are noisy cams, is Lip Sync in post-production a viable poption?


It works best if you do the post dubbing in Italian or Russian or Cantonese.
Mandarin ought to be okay.

Non of those industries had lip-sync fetishes.

---LV
  • 0

#7 Matthew Buick

Matthew Buick
  • Basic Members
  • PipPipPipPip
  • 2345 posts
  • Student
  • Newcastle upon Tyne, UK.

Posted 25 July 2006 - 04:21 PM

These are just movies with my friends, I can already lip sync, I just need to teach them to.

Edited by Matthew Buick, 25 July 2006 - 04:21 PM.

  • 0

#8 Andy_Alderslade

Andy_Alderslade
  • Basic Members
  • PipPipPipPip
  • 1055 posts
  • Cinematographer
  • London, UK

Posted 25 July 2006 - 05:37 PM

I keep giving advice NOT to do this, and so far, I think exactly zero people have believed me.

I've done it.
It's a freakin' nightmare.
It's NOT cheaper or easier to shoot this way!!!
Get a quiet camera. It's easier to shoot, post production is about 1/1000 the hassle, and results are MUCH better.
If you don't follow my advice, the amount of money and time you spend trying to fix the problem, is FAR in excess of the cost of getting a quiet camera.
It's not even close.


I've done it too, and for shorts its justifiable if it allows the production to commence on a shoe string, and that shooting on a shoe string is the only way the production can exist.

You have to work with and accept the limitations of the method though.

For commercial projects and features its simply silly.
  • 0

#9 David Sweetman

David Sweetman
  • Basic Members
  • PipPipPipPip
  • 757 posts
  • Student

Posted 25 July 2006 - 06:31 PM

an Arri 16bl won't run you much more than an Arri S, that's what I would reccomend; way less camera noise. Plus I've found that some actors percieve it as more professional, especially the ones who are new to film or who have limited technical knowledge. kinda looks more like what you'd think of as the typical "hollywood" camera.
  • 0


Tai Audio

Gamma Ray Digital Inc

FJS International, LLC

Aerial Filmworks

Metropolis Post

Broadcast Solutions Inc

CineLab

Opal

Wooden Camera

Visual Products

Abel Cine

Rig Wheels Passport

Technodolly

The Slider

Ritter Battery

Glidecam

CineTape

Willys Widgets

Media Blackout - Custom Cables and AKS

Paralinx LLC

rebotnix Technologies

Wooden Camera

Glidecam

Opal

Abel Cine

Media Blackout - Custom Cables and AKS

Ritter Battery

Visual Products

The Slider

Technodolly

Willys Widgets

rebotnix Technologies

Paralinx LLC

Gamma Ray Digital Inc

Tai Audio

Aerial Filmworks

Metropolis Post

Broadcast Solutions Inc

CineLab

FJS International, LLC

CineTape

Rig Wheels Passport