Do you use any of the fancy Sync + Time Code systems that carry both sync and time code over RF to cameras etc...? Are there systems like that that would also carry audio along with sync and time code. I have seen sync and time code units at NAB a few years back but haven't kept up on the latest gear out there.
Nobody bothers to gen lock the cameras on my 4K shoots as far as I know but the audio stems are recorded on a DAW which is the audio bed of the multigroups created so that must avoid phase issues.
---In Avid-L2@yahoogroups.com, <wilsonchao@...> wrote :
On Fri, Mar 10, 2017 at 1:54 PM, bigfish@... [Avid-L2] <Avid-L2@yahoogroups.com> wrote:When you say "phase-locked w. timecode" does that mean you feed tri-level or bi-level sync to cameras and feed everything from a master timecode generator locked to the same sync source?
In my limited experience time code alone doesn't gen lock camera sources. I've seen some RF systems that carry sync and time code information to cameras and I would assume any other equipment like the pro tools rig and the cinedeck etc....
---In Avid-L2@yahoogroups.com, <wilsonchao@...> wrote :For documentary shoots I always make 2 redundant recordings, in-camera & external recorder The mixer feeds audio to both, and timecode is embedded in the HDSDI feed to the recorder. So - not "double system" but "double single-system" if you will, and no syncing. As far as audio quality goes, we're avoiding the camera's preamps which are the weakest link in the chain, so even in the (very very rare) case where our primary (external) recording is bad & we have to fall back on the backup (internal) recording, it's perfectly usable.[Slightly off-topic] For live-performance event shoots I record maybe 2 dozen Iso'd audio tracks on a dedicated ProTools system, purely as backup. Primary audio is distributed across multiple video channels, e.g. a pair of CineDeck 4-channel video recorders gives 8 video channels w. 4 audio tracks each = 32 tracks, of course phase-locked w. timecode. Never had to use the ProTools backups yet, but some day it'll save my butt...On Thu, Mar 9, 2017 at 2:15 PM, Jim Feeley jfeeley@... [Avid-L2] <Avid-L2@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
Posted by: bigfish@pacbell.net
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