Thursday, March 9, 2017

[Avid-L2] Re: [Editing-List] Semi-OT: Double-system or Sound on Camera?

 

We don't get double system delivered to us for processing often. Thankfully, because when we do there may or may not be a clap. No slates, no matching TC. Last time I had to do this was about 2 months ago, there were claps, but there was no documentation or folder/file names indicating which audio files corresponded to which video. Fun! And the camera audio was unusable for edit, though it helped with the synching as you could (barely) hear if it was/wasn't matching the audio-only files. Last year got a request with no claps, the walk-and-talk was mostly in the back/kitchen of a newly-opened KFC in Lagos, Nigeria, so a ladle clinking against the side of a pot was the best I had to work with in place of a slate/clap. Definitely pushed me towards "get off of my lawn" territory. So another vote for on-board audio, because the kids aren't learning this stuff in school.

Stephen Priest
CNN Atlanta


-----Original Message-----
From: "Mark Spano cutandcover@gmail.com [Editing-List]"
Sent: Mar 9, 2017 5:18 PM
To: Yahoogroups
Cc: "Avid-L2@yahoogroups.com"
Subject: Re: [Editing-List] Semi-OT: Double-system or Sound on Camera?

 

I feel like camera manufacturers understood a few years ago that onboard audio in multiple tracks was important and a potentially game changing time saver in post. So they added it. How many times do I see HQ audio from camera files? Nearly none of the time. I think I'd prefer it - no extra syncing work in post (theoretically). But what do I get so often it makes me insane? Separate audio with ZERO sync points. No matching code, and no clap/slate. This is a rampant problem that I'm amazed people who call themselves professional get away with. So if there's any hope of a trend of good quality audio in-camera, I am all for it.

On Thu, Mar 9, 2017 at 2:15 PM, Jim Feeley jfeeley@gmail.com [Editing-List] <Editing-List@yahoogroups.com> wrote:
 

Hey Everyone,

I'd love to hear your perspective as editors/post on this.

I do a fair amount of work as a location sound mixer. I'm thinking of buying a new hop to send audio from my bag to camera. But the thing is, I'm doing fewer jobs where we send high-quality audio to the camera. A lot more scratch track and/or timecode (or timecode & sync). I don't do much narrative and advertising work where I expect double-system. More news mag, documentary, and mid/high-level corporate (and I don't do much reality/unscripted, either). I wonder if my experience is anomalous, or if it matches what you all see. And what do you prefer?

Are you seeing more of some sort of double-system audio in the doc/public-affairs/corporate work you do?

How do you prefer to get and match audio? Sound on Tape (card/camera/whatever)? Scratch track on camera & separate audio files? TC or TC+Sync & separate audio files? Scratch & TC on camera & separate audio? Other?

Let's assume (since I own) Sound Devices audio recorders. I.e, top quality...not little Zooms or something.

And what do you expect sound on camera to increase or decrease in the coming years?

Thanks!

jim feeley
pov media
word image sound

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Posted by: Stephen Priest <spriest@mindspring.com>
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