Ever-more multitrack questions

Still trying to figure out the ins and outs of mutitracking production
tracks. I am sure that "mistakes will be made" but before I do my first
multi-track picture, I'd like to get some ideas about procedure so I don't
make them all on Day 1 and get fired<g>.

How are you experienced multi-trackers setting up your 8-10 tracks for
transfer to dailies and sound? Do I recall that the last two tracks are
being used for a two-track mix for dailies and the other tracks are used as
isos? Do you leave all the tracks enabled and mute the unused inputs, or
reset the recorder for the appropriate number of tracks used on a particular
setup? It seems, if that is correct, that machines take the farthest tracks
away if unused which would mean that the mixed tracks, instead of always
being on, let's say, 7 and 8, would move around. Probably a bad things for
those dailies transfer places who mess up a two-track mix on a regular
basis<g>. But leaving all the tracks enabled if unused would seem to make a
lot of wasted space on a DVD and at 48/24, give me only about 60 minutes,
all tracks enabled, per DVD.

Also, how much meta-data are you guys sending along with a file; how
complicated are your scene/take info, and are you having time issues in
doing all the keyboard stuff, and is it causing you to not do as good a job
mixing your two-track for dailies? How complex are your logs?

Also, what other "traps" have bitten you? I just talked to a mixer who,
getting ready to do a picture, sent the transfer house a test DVD. They
said, "Oh we are used to the little ones. Can't used these big ones." PD6 in
house, no DV40. They don't want to go out and buy a DVD drive (<$300!!) and
want the mixer to do disc copies every day to a PD6 he doesn't own (oh and
get them in at film break!). Waiting to hear what the outcome is. This
mixer is a multi-time Oscar nominee, no sloutch, but not interested in
having to dig holes and fill them back in, as well as record the dialog on a
61-day picture<g>.

And, if you are turning in a DVD, are you sending in any backup like a CF?
Or making a DVD copy on the set? Or making certain that the transfer house
makes a disk copy? Or not sending in backup at all; keeping the tracks on a
HDD until the transfers have be made, checked, and loaded?

What have you been ask for by editorial (either picture or sound) that you
have been unable to provide? Or by dailies transfer?

People like Jeff W. and anyone who has been doing this for a while; your
tips and traps would be appreciated.

Thanks,

D.


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