Re: Ever-more multitrack questions
- From: Jeff Wexler <jw@xxxxxxxxxxx>
- Date: Sun, 15 Jan 2006 16:40:30 GMT
In article <B76dnfeETZ1CdFTenZ2dnUVZ_s2dnZ2d@xxxxxxxxxxxx>,
"Douglas Tourtelot" <tourtelot@xxxxxxxxxxxxxxxxxxx> wrote:
> 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?
This is essentially how I do it, although I only do 1 so-called "mix"
track and that is always Track 1 no matter what (mimics the good old
days when we only had 1 track to work with). Other tracks are used as
needed, only enabled if they are needed. Generally, all of the elements,
sources (boom mic, wireless mics, plant mics, etc.) are already patched
(connected) to the Deva inputs/tracks, so if there is one or more
elements that are being mixed to Track 1 that I feel would be useful
later, isolated on their own, I enable the track for that input.
>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?
I only enable the tracks I need for any given scene, setup, and have
only had to enable un-needed tracks to accomodate peculiarties in
various post systems, notably the DV-40 and older Avids (both unable to
access an ODD track count --- for example, 3 tracks enabled and
recorded).
>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.
This is NOT the case at all with any of the recorders I am familiar with
(although I have had almost no experience with the Fostex PD-6). I
believe with most machines, you enable the tracks you want to record on,
track 1, 4, 8, whatever, and that's that.
>
> 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?
I am sort of the anti-metadata person, but I have been doing better. I
generally try to get proper Scene and Take into the metadata, and yes at
times this procedure does detract from efforts to actually record the
sound I am trying to desperately document properly.
>
> 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!).
In my position at this point in my career, I have usually been able to
get the production company to change facilities or to force the facility
to have the proper equipment (and expertise) to service our job. If the
production company made a deal with the film lab and on the first day of
shooting they said "why is your DP shooting that emulsion, we can't
process that kind of film" you would have to change labs.
>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
Maybe no sloutch but obviously got pinched in the middle of not enough
prep or discussion on that job... it happens.
>
> 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?
I send in only the 1 DVD-RAM disk, knowing that if there is a problem,
all the material is still on the Deva hard drive. In the early days,
before non-linear was fairly commonplace, even after I had helped setup
the post chain so I knew it would work, I would send in a DAT (recorded
concurrently with the Deva disk) to "backup" the potential failure of
the post systems and procedures. I was basically covering THEIR act so
that our production would not suffer with the dailies being delayed.
>
> What have you been ask for by editorial (either picture or sound) that you
> have been unable to provide? Or by dailies transfer?
The only things I have not been able to provide are the somewhat
ridiculous things that have been requested at times, usually by
editorial teams or daily transfer people who have had little to no
experience with a non-linear file based production workflow. There have
been times, mostly in the past, where post has demanded a DAT cassette,
for whatever reason, usually because they just don't want to upgrade to
current standards and procedures. If I have the time, I will go to the
facility and help them set things up. I had to do this on every movie in
the beginning because there were so few of us using the original Deva
back then. I personally helped Twentieth Century Fox, Paramount Pictures
and HBO pictures (and probably others) get on board.
There are still stumbling blocks in all of this but fortunately everyone
realizes this is the way we will be doing the work, there is no turning
back, we WILL be delivering the production sound as sound files, this is
a given.
Regards, Jeff Wexler
.
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