Re: Audio for Video Shoot
- From: "Lorin David Schultz" <Lorin@xxxxxx>
- Date: Fri, 30 Jun 2006 16:03:51 GMT
Frank Stearns <franks.pacifier.com@xxxxxxxxxxxx> wrote:
They are shooting 24 frame progressive, which supposedly means an
underlying 30 frame rate throughout the video production chain.
Yeah, 24p is a screwy abomination of 29.97. It looks arsty-fartsy ao
shooters like to use it. It also looks jerky and blurry, but it makes
people feel good so more power to 'em.
My first 24p post project isn't until next week so I can't offer much in
the way of real-world experience yet. It also may not be particularly
relevant since I had the luxury of a real TV studio with sync throughout
during production, and I'll get an OMF with everything already conformed
to post.
Here's where I need some TV Audio guy expertise: I'm planning on
taking a "T" on that video feed from the camera and also feeding it
to my Apogee masterclock as a reference (the Apogee clocks the
audio multitrack).
You can't split video. You'll either need to loop through one device to
the other with the upstream device termination switched off, or use a
little video distribution amp.
Apogee tells me that the composite video, while not pure black
burst, should work fine; the clock will cleave off the picture info
and just use the sync pulses.
Yup.
But then it occurred to me that perhaps the camera video out (RCA
jack on the cam, a Panasonic DVX100A) is for monitoring only and is
not necessarily representative of camera system sync? Dunno. Just
asking.
It'll be fine.
Or maybe I should forget the clock ref from the cam entirely and
just let my system free run; they can use the dog clicker pulse to
sync in post, given that none of the scenes/takes will run more
than about 10 minutes. (Sure be ugly if there was something not
quite right about that reference and the audio word clock was off.)
Ding ding ding! In that scenario, I'd go free run and dump the sync.
There is a tiny bit of drift, but not what we used to deal with ten
years ago when the devices involved were analog. With digital cameras
and digital audio recorders the drift is so slight that it's not much
more than a minor nuisance for most productions. You're not going to
see much drift over only ten minutes, and every picture edit gives you
another opportunity to tighten things up.
Like you, I'd be more concerned about an overlooked setting causing the
synchronized recording to run way off speed. There's no risk if
everything is set correctly, but it's REALLY easy for something to go
way wrong, and I wouldn't bother taking the risk when the benefit is so
small.
--
"It CAN'T be too loud... some of the red lights aren't even on yet!"
- Lorin David Schultz
in the control room
making even bad news sound good
(Remove spamblock to reply)
.
- References:
- Audio for Video Shoot
- From: Frank Stearns
- Audio for Video Shoot
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