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  #1  
Old 11-12-2005, 05:04 AM
gerax gerax is offline
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Default Live DVD shoot: advices welcome

Hello

I'm in the planning stage for a live DVD shoot of a string quartet I work with that should happen in January next year.
I have yet to talk to the video crew, but I know it should be a 4 camera shoot. Now, I'm thinking my brains out to be as prepared as possible for the situation; I'll be multitracking the show (and a couple of days ahead worth of additional video and audio material for editing) and handling all the edit and mix to pic in Pro Tools afterwards.
I guess the cameras will be jammed to a master time code generator, so I was thinking about locking my setup (Mackie SDR2496 HD recorder, Focusrite ISA preamps, line mixer for monitoring and rough mix to DAT and CDrw, plus a pair of DA78s to backup to) to the same timecode in the form of SMPTE which my recorder accepts. My main concern about this is that I fear my recorder will be at the mercy of starts/stops of the timecode...and this is not a thing I want to depend on.
I'll be recording 24 bit/48KHz .BWF files and I guess that (being in Italy) the video will be DV @ 25fps. I guess the director will be using a standard clapstick on top of timecode (the old fashioned way). I was thinking about giving one of the cameras a rough 2 track reference mix so that they will have something to start picture editing to.
Also I'm trying to figure out a way to have everything as clear and easy as possible to sync everything up later in post: what do you think would be the best procedure? Usually (in the records I've made with this string quartet) the arranger likes to work himself the editing in Pro Tools, then sends me the sessions to fine tune and mix. This time around there will be picture involved, so I'm not quite sure about who takes precedence: audio or video? Considering that I'll be recording 8 to 12 tracks of audio would it be better to edit audio in the best way we can and then send the video dept a 2 track rough to cut picture to or the other way around? How should I handle timecode in this situation? What about additional material that won't come from the concert's night?
Also, it's not decided yet whether the sound will be surround or simple stereo, so I'd like to keep my possibilities open: are there any particular things I should set up in the recording phase to have a surround mix possible later (like spreading additional pairs of mics for rear ambience and audience tracks...)?

Thank you for all the advices you could give me.

L.G.
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Old 11-12-2005, 09:59 AM
deardaddy deardaddy is offline
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Default Re: Live DVD shoot: advices welcome

Hi Lorenzo,


We usually record with wathever multitrack recorder (MX2424, HD24, ...) with time code in BWF (24bits/48KHz).
When it is a live a recording we never stop the recording until the end of the show so we end with one file per track.

We send a rough mix to Beta or DV tape (when multi betas are available we split our tracks to the betas wo we have an extra backup).

The video editor cuts the video and audio (rough mix), then he makes an EDL and we conform the Pro tools session we made with the multitrack recording to it.

There are many more things to say about this kind of job, I'll let the pthers come in and share.

Hope this helps.

Take care.


Pascal
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Old 11-13-2005, 06:46 AM
gerax gerax is offline
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Default Re: Live DVD shoot: advices welcome

Thank you for the reply.

I understand your method, and it seems clear, though there are a few things that I'm still a bit not sure about.
Are your recorders jammed to the master time code generator that feeds the video cameras? If so, how do you work with the timestamped files in post later? I guess the video file you receive has the same timecode as your tracks, so all you have to do is just load the tracks in PT and sync them to the video in spot mode, is this correct? What other sync method are available other than an old fashioned clapstick (that I guess won't be possible to use at the start of the concert if you understand me....)?
Also, I'm trying to figure out a way to have the additional material shot the other days (not in the concert's night) in sync with the picture, because I think it will be used to sweeten and enrich the video montage (that would be a bit too static being only 4 cameras), and to correct same flawed notes here and there. I think Digitranslator and OMF capability will be mandatory then, or an EDL with precise timecode indications for each cut that's not coming from the concert night.

Thank you for your feedback

L.G.
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Old 11-13-2005, 11:28 AM
philper philper is offline
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Default Re: Live DVD shoot: advices welcome

We usually have the TC run in free-run or "time of day" mode. The TC and the sync signal are distributed to everyone one that needs it. A rough mix of the audio is usually sent to the cameras or video recorders, and sound records this same TC on their systems. If you are handling the post as well, then you will get an OMF export from the picture editing system, along with a copy of the edit in some form of video (specified by you). Make sure that the picture dept. consults w/ you about style of OMF export, sync pops, reel breaks (if any) and what sort of video you need, as well as what the delivery requirements of the production are for audio (layback to an edit system, lay back to video tape, stems, files, what?) A last production note would be to be very careful about how you power everything on location. Make sure that all your gear and all the cameras are powered from the same "leg" of the local AC (or generator). With all the TC, sync, and audio feeds there is a great potential for ground loops.

Philip Perkins CAS
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Old 11-13-2005, 01:46 PM
deardaddy deardaddy is offline
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Default Re: Live DVD shoot: advices welcome

Everytbody receives the same TC and sync from the same source. We use the spot function in PT.
You've got to be carefull about the 12 hours limit in PT when you set the TC for the recording, contact the video editor to know what is the TC on the final tape.

Your audio files will have the same TC embedded as the one in the picture so you don't need a clapstick or something else.

For the other days of the live performance, use the same method, but you don't record a lot of tracks, send your tracks to the beta recorder as well.
For that, you'll use the omf that will be made by the video editor.

When you use EDL's, you can have the video editor use different reels so you'll recognize easily which part of the shooting is taken.
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