Mixer's notes from an AG-HVX200 24P feature shoot
- From: "Zachary Johnson Gramana" <spam@xxxxxxxxxxxx>
- Date: 18 Jun 2006 20:26:18 -0700
I just came off a 720/24P feature shot on an HVX200. The following
are some notes and observations that I want to share with other mixers
in the event that they should find them helpful or pertinent.
Some items are technical in nature, while others are more matters of
protocol stemming from technical issues that may or may not be unique
to the HVX200. Still others are more speculative and nature and don't
reflect actual issues that I experienced on this show, but reflect
experiences gathered from other people or on other jobs (e.g. some of
the protocol and post-production notes). Some are more applicable to
those working on feature-length narratives with a professional crew,
and will be less useful for those working on other sets (e.g. ENG,
"reality TV," commercials, etc.). I'm sure that I've botched something
somewhere, but I'll definitely only notice it after I permanently
submit this message. The above are all known limitations of the
following post.
One last preface: any tone of authority that may seem to waft off of
this posting is purely accidental.
And now:
1) TC is firewire out only. Ambient is rumoured to be working on a FW
analog converter, but AFAIK it does not yet exist. Thus, there is no way to jam sync bewteen the camera and an external sound recorder. LANC to LTC converters (or similar) do not work on the HVX200, since Panasonic's control format ("Control M") does not support timecode.
2) The recorded sound quality is on par with any quality linear PCM
16-bit/48k recorder. Bear in mind, comparing it with 24-bit or higher
sampling rates is not really appropriate. Like any 16-bit recorder,
you should record the signal as hot as you can without clipping.
Peaking at -20db means you are effectively recording at something more
like 8-bits. I often hear camera operators tell me "the last sound
guy's levels were coming up about half-way." Use your limiters. I
find that on both the HVX200 and the HVR-Z1U if I tone up at -12 on
channel 1, and -18 on channel 2, I get great results. On the HVX200,
the "red bar" seems like -3db. Be sure to listen to your return.
Using my FP33, the only times I clipped were on input overloads where
my input limiter couldn't handle the signal (e.g. "Cut!").
3) There is the normal digital latency lag if you monitor off the
"record head" (the camera's default). The HVX200 monitors off the P2
card write buffer by default. This simulates monitoring off of a
confidence head. Just like with DAT, there is a small latency involved
in this. Good isolating headphones (-30db SPL or better) go a long way
toward helping if it bothers you. There is no latency on watching
playback (if your AD allows that sort of thing ;). This option can be
turned off, where in a pre-A-to-D analog signal is routed to the
headphone jack. You use this option at your peril, though. Note: some
directors won't listen to a delayed signal on set.
4) The headphone amp is relatively quiet, unlike BetaSP cameras.
5) Fantastically low noise floor. In fact, never found a location
quiet enough to ever gain up enough to hear it. The only broadband
noise I heard came from distant compressors, traffic, building
presense, etc. All in all, I was very happy.
6) Currently, post sucks with P2. The P2 format includes the XMF
format, with bundles sound and video streams, along with meta-data,
into folders. Currently, Final Cut Pro 5.0.4+ offers the easiest way
to work with the files, as importing converts them to a standard
Quicktime format. If you do choose to record dual system sound,
strongly consider sending the signal to the camera as well. This will
allow the editor to quickly begin cutting. Once the reels have been
sent to sound editorial, they can use a tool like VocAlign to
substitute the 24-bit files in. Since TC to your sound recorder is not
an option, and EDL will not be of use in conforming HD sound to the
16-bit tracks. This may be less of an issue for commercials, etc.
[And please slate, even if using TC. If the talent is truly distracted
by the clapper, the standard protocol is to use "soft sticks." Do this
by opening the clapper just a few inches, then gently close them (the
gravity and the magnet will do the work for you). Close mic the slate
in order to get good slates to the assistant editor. Timecode is only
frame-accurate, at best (1/24 of a second can be long enough to loose
sync for some transients). Drifting sync can be very difficult to fix
without a good slate.]
7) On the HVX200, overcranking and undercranking disable the sound
recording abilities of the camera (i.e. MOS). The camera operater will
enter in a sync frame rate (e.g. 24 fps or 30 fps). Any time the
camera is switched off that frequency, the sound system shuts down,
preventing sound takes (dead inputs, no headphones, etc.). For
example, if the sync frequency (also called the 'default' frame rate)
is 24 fps, then shooting 30 fps disables the sound recording system.
Dual system sound is the only option for off-speed takes.
8) On our camera, you really had to press hard to get the 1/8" mini
connector for the return into the headphone jack. The AC and I both
were worried about breaking something. After living without a return
for several hours, we agreed to give it another try. Nothing broke,
and everything was fine. However, YMMV.
9) Some camera operators with a classical film training have a hard
time adjusting to single system sound. They don't like sound personnel
touching the camera, and some really hate having an umbilical cable
(okay, ENG guys complain too). Just be prepared for a little extra
friction on set, and don't take it personally when he tells you to get
your cables the hell out of his way. Sometimes cables get snagged and
will bust a take. It happens. Don't let it get you down.
10) The XLR mounts on the HVX200 are next to the zoom and focus rings.
Sometimes the pigtails can rub against the rings and get in the way.
Running the snake through the handgrip strap seemed to take care of the
issue and didn't interfere with handheld takes. I used a velcro strap
to provide strain relief by strapping part of the pigtail to the
handle's upright in the front. The video breakout cable connector
lives next to the XLR inputs, and is very flimsy. The AC took to using
the same velcro strap to provide strain relief for his cable too. The
HVR-Z1U is similar, except for the location of the video breakout
cable.
11) Using the HVX200 on a steadicam becomes a little more challenging
with a tether. This can make it a little tougher to balance. Same is
true with a wireless receiver. I personally avoid a wireless link to
the camera like the plague (no return, risk of interference hits).
Luckilly our rig had other issues, so the issue never came to a head.
Give your camera team (and maybe your AD) a heads-up, though.
12) Few AD's allow playback on set, except in rare circumstances. This
means that you cannot review previous takes unless the AC or assistant
editor makes copies for you (not likely). Not all directors/producers
invite the mixer to dailies. Bummer.
13) Anyone can see the meters on the LCD, but they don't necessarily
understand them. Be sure to tone up often. Tape on the volume
controls might not send a helpful signal to the camera team.
14) A separate sound recorder comes in handy for wild lines and
production fx, thus freeing up the camera team to use the camera. I
generally like to get room tone when we are finished covering a scene
and are ready to move on. The Director, DP, and AD often like the few
moments of quiet to think about the next setup (though everyone else
wants to hustle). Be sure to communicate with your script sup. in
order to get slate info. for your wild takes. Good script sup's will
want to be there, if possible, to listen for continuity issues, etc.,
anyway.
15) The HVX200 also allows you to change the channel number assignments
of the XLR inputs and the ob-board stereo pair. I haven't yet figured
out why you might want Channel One: On-Board Right; Channel Two: XLR
Left; Channel Three: On-board Left; Channel Four: XLR Right; but it
will let you do it. The on-board mic is always recorded. This also
means that any chatter from the camera team, etc., during a take will
be recorded. I'm sure that will keep some sound editors entertained...
Seriously, though, as a professional courtesy, you may want to notify
the camera team of that fact.
16) Sometimes the idea is broached that the script sup. doesn't need to
record TC since "P2" or "Final Cut" "doesn't support timecode" or "the
editor doesn't need it." Without discussing the merits of this claim,
you might advocate for recording it. The picture editor may be fine
without it, but it will bone the sound editors when they have to search
through thousands of clips for alternate takes, etc. BTW, if your
editor will be using a Mac, at this time, you must have FCP 5.0.4 or
later. Currently Avid Xpress and others do not support direct P2
import on the Mac (they do on Windows, apparently). There are 3rd
party programs that will convert XMF to Quicktime for Mac Avid users.
.
- Follow-Ups:
- Re: Mixer's notes from an AG-HVX200 24P feature shoot
- From: Jay Rose
- Re: Mixer's notes from an AG-HVX200 24P feature shoot
- From: Philip Perkins
- Re: Mixer's notes from an AG-HVX200 24P feature shoot
- From: Zachary Johnson Gramana
- Re: Mixer's notes from an AG-HVX200 24P feature shoot
- Prev by Date: Re: Fostex DV824 forum?
- Next by Date: Re: Inconsistencies with SDX 900
- Previous by thread: MOTU 896HD
- Next by thread: Re: Mixer's notes from an AG-HVX200 24P feature shoot
- Index(es):
Relevant Pages
|
