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Re: More Audio & Such

At 07:33 PM 1/07/96 -0500, you wrote:
>You can learn a lot here, I have.
Me too

I don't run a telecine and this is not specifically telecine issue, so you
may or may not be interested BUT ... we're doing a project here thus. TV
series starts 16mm shot on location (poland/china) telecined mute to DCT and
SPBetacam in one pass. The DCT gets a pregraded feed and the SP Beta is
one-light from the URSA.

Audio comes in on DAT with standard clappers. We stripe the DAT, then sync
to SP Betacam, keeping track of the DAT info using SHOTLISTER system. The
lightworks sees one set of numbers, the SP code, and we trace the dat code
after finecut is complete.

Problem. Our Lightworks system is set up to the rest of the house levels at
0VU. The sound recordist is giving himself the usual 20Db headroom. But he
doesn't seem to be touching his faders at all which means he's using that 20
Db. Fine, but try syncing that to SP analogue tracks with reasonable audio
levels and without distortion! And then dubbing that to VHS so the crew can
see and hear sync rushes! OK we could setup the SP so that DAT tone is at
-12 or thereabouts, but thats going to be awful quiet at times in
Lightworks. Also, the editor will be constantly adjusting levels for
comfortable monitoring.

It seems that the recordist is unable/unwilling to contain the dynamic range
he is recording, so we are setting up a system where one track gets synced
to SP at -12Db so that we keep the dynamic range intact. The other track
gets compressed with a CD-type compressor. This gives the editor a
compressed but useable track for editing and for the sync rushes playout,
but a reference track for listening off tape. 

My question is; it seems that recordists using DATs are no longer expected
to contain dynamic range with their faders or boom technique? True? Or is
this just laziness in the same vein as tape cameramen shooting 23 takes of a
simple pan shot 'cos tape's cheap, but not one is steady? Or Online editors
compiling a digital master leaving all the source tapes on preset because
"the tape can handle it and it slows the compile down to look at scopes"? 

I noted with interest the thread on "what's legal" and it somewhat
vindicates my long-held feelings I think.

Do recordists have a mailing list we could visit?


PS we have a CCC Sunburst II setup for component tape to tape grading. needs
a bit of work though. anybody out there still using/servicing them? In
Australia its hard to find anybody who knows the machines well.