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Audio & Such

I'm glad to see the mail from Steve Darsey regarding audio in telecine.    I'm
interested in how other people do synching of rushes.

Steve writes

>>     1) Sell the producer/director on the need for TC slates. Yes it may cost 
more up front, but what it saves in transfer is noticeable. Clap-slate = 2 
or 3 previews + 1 record per take. TC slate = 2 or 3 previews per reel 
(offset determination).  1 record per take for the rest of the reel. Is the 
time saving obvious? We don't have a hard drive audio system dedicated to 
Telecine transfer sessions. It would be nice though.<<

Do you synch up in the telecine area,  with something like a Nagra "T" chasing
the camera code,  or do you sync the sound to the tape after telecine transfer.
Here in the UK,  most productions will only pay costs which allow for one
non-stop pass through a film roll on a MK III Cintel and synching is done after
the telecine transfer to minimise telecine time and charges.

My company provides sound synching services on the back of three MK III's and we
use hard disk recorders to do the work.    We sync using clapper boards,
treating the recorders like traditional film equipment.    We can handle ARRI
and AATON timecode,  but most of our clients prefer the ease of using the
traditional board on location.    At present we are turning over between 20,000
- 30,000 16mm feet per night (23.00 - 09.00) of drama rushes,  and up to 10,000
16mm feet per day on documentary work.

>>I hope I have passed on some useful information from the Dallas area. 
Particularly, Southwest Teleproductions. VP&T, Filmworkers and Blue Cactus 
will have to post their own insights. hmmmm think I might be starting 
something here?<<

I would welcome input from other sources.    A lot of our documentary rushes
come from overseas crews and you do get some "beauties" to work on at times
which makes you wonder how their own local telecine houses deal with them and
how long it takes them.    They are usually timecode shoots with all the faults
you can get with them.     If you ever get to talk to these crews,  the response
is usually that they have never had any problem before getting their rushes
synched!!    So it would be good to hear if anyone has some magic solution

Jim Guthrie
Sprockets & Bytes,
Bristol/Denham, UK   



  E-mail from: Jim Guthrie, 06-Jul-1996

 to 8db below peak.    This definition is dredged from my memory of
training courses many years ago and has probably been superceded by a more
elegant modern equivalent - and I can't remember if the .775V is peak or RMS,
but it looks like RMS from the value..    I also believe that a PPM reads peaks
on reference tone - i.e. one peak per millisecond for a 1K tone.   I'm going to
have to dig out my old course notes to confirm all this,  if I can find them!!!!

As an intersting aside to my previous e-mail where recordists record twin mono,
with the right leg 10db down to catch high peaks and transients,  if this
material was kept in the digital domain by cloning throughout the
post-production process,  the dubbing mixer would finish up with the problem at
his mixing desk.    If he raised the right leg mono to normal levels,  he would
re-introduce digital distortion and I reckon he would have to route the signal
through an analogue device to limit the peak levels to an acceptable level
before feeding back into the digital system.

Jim Guthrie
Sprockets & Bytes,
Bristol/Denham, UK


  E-mail from: Jim Guthrie, 06-Jul-1996