Same here, favorite is 2trk mixdown with access to the original ISO tks.
In fiction world that's still something that's happening, and good sound mixers are more appreciated now as they allow to save... on ADR! And there's some assistant time dedicated to synching up.
On documentaries, it depends on the budget and the production company. The ones with a film background understand it usually. The ones with mainly daytime TV background take more convincing.
To come back to your question, ideally you can send a mixdown to the camera. Having sound tracks already attached to the camera files help a lot as it allows you to sync up with Plural Eyes or the new Avid feature (which I haven't tried).
P.
---In Avid-L2@yahoogroups.com, <mbrock321@...> wrote :
Cheers,
--Michael Brockington
---In Avid-L2@yahoogroups.com, <mbrock321@...> wrote :
I prefer to only have 1-2 audio tracks on source clips when I'm cutting, but still want to be able to easily access ISO mics if needed.
So I like to have the following recorded on the camera media: 1 track from a camera mic (for emergency syncing, or if sound isn't rolling on something critical) and a scratch mix from the sound recordist on a 2nd track. Then separate audio files, with some kind of timecode jam-sync between audio recorder and camera. I ask for slates and claps too, but don't see them too often!
Cheers,
--Michael Brockington
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Posted by: ph@cineaste.org
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this is the Avid-L2
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