Re: Mixer's notes from an AG-HVX200 24P feature shoot

Zachary Johnson Gramana wrote:

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."

I have done many shoots with this camera and can not agree with this.
This camera sounds like DVX100 to me, which is to say far behind
almost any DAT recorder in overall audio quality. The convertors are
just adequate, without much depth or warmth to their sound. The analog
audio electronics are not on a par with those found in higher-end
Panasonic cameras.


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.

Why would a director be listening to a camera return in any case? Feed
director etc monitoring off the mixer, direct.

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.

I found this camera noiser than Varicams etc.


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.

No one would ever use Vocalign for uprezing the audio to the 24 bit
files. Vocalign is a tool to compress and stretch ADR and alternate
audio takes into the vocal rhythms of a chosen picture take. There is
no reason to subject audio to the artifacts involved in using Vocalign
if all you are doing is subsituting another recording of the same take.
This is done in PT with Titan or other similar programs.

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.

Or rely on your double system set up and send a wireless feed to the
camera for reference.

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.

So listen to your double system files to hear how you did.

Philip Perkins

.

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