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  • Hey all, just changed over the backend after 15 years I figured time to give it a bit of an update, its probably gonna be a bit weird for most of you and i am sure there is a few bugs to work out but it should kinda work the same as before... hopefully :)

DUAL SYSTEM SOUND TECHNIQUES

B

BRANDON JAMESON

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HI ALL,

IS THERE A GOOD SOURCE TO LEARN ABOUT 2 SYSTEM SOUND WORKFLOW DURING PRODUCTION AND IN POST WITH AVID?

I KNOW THAT THE CONCEPT IS VERY OLD SCHOOL, BUT IT SEEMS LIKE ITS BACK WITH EPIC.

IT WOULD BE A REAL BENEFIT IF ONE OF YOU AUDIO GURUS WOULD ENLIGHTEN US ABOUT TIMECODE SLATES AND LOCKIT BOXES, THE BEST KIND OF TIMECODE TO USE (TOD/FREE RUN, ETC) AND THE WAYS TO "JAM SYNC EFFECTIVELY.

IF THIS HAS BEEN COVERED BEFORE OR THERE IS A GOOD RESOURCE TO REALLY UNDERSTAND THE TIPS, TECHNIQUES AND TOOLS OF 2 SYSTEM CAPTURE AND POST IT WOULD BE SO APPRECIATED!!!!

THANKS
 
Sounds like you're in a hurry with all those CAPS! ;)

Double system sound has never gone away - even in reality shows where each character is mike'd and tracked as their own ISO - sometimes 20-24 tracks worth of production audio. Double system sound i snot only a benefit to the quality of the sound (better placement, better control, dedicated ears and eyes, etc.) it is also a benefit to the camera to not be cabled down, giving it more freedom to move as needed. There are lots of workflows at different budget levels, but the most basic single camera and audio recorder is to jam sync the two devices to each other using Time of Day (TOD). It is also recommended that camera and audio be jam synced a few times a day to ensure perfect sync - and especially after powering down either device. From there, you just move up the value/benefit chain. A SmartSlate that is also jam synced, or lock-it boxes which come in handy with multiple cameras, etc. You will find more information on this with production audio forums and professional audio recorder sites, than you will on picture camera sites.

For post, check the Avid User Guide - it is pretty complete with workflows and how AutoSync can be used to deal with MIX track, ISO tracks, pullup/pulldown depending on frame rate to kHz rate, etc.


Michael
 
Yes. Read this link:

Beginners Guide to Recording

Timecode alone is a complex area. Generally, the sound recorder becomes the master timecode generator for the shoot. An Ambient Lockit box (or the similar Denecke SB-T, which I prefer) jams to the sound recorder, then gets placed on the camera, and the camera runs off that for the duration of the shoot. The timecode slate is jammed from the sound recorder as well. The boxes will typically hold a lock for 8-10 hours, but I generally advise re-jamming every 6 hours or at a convenient break (like lunch). Be warned that some cameras and some sound recorders will lose a frame or two when they're power-cycled.

RecRun timecode was used on many documentaries back in the day, because it was continuous and unbreaking -- hour 1 for the first hour of material, hour 2 for the second hour of material, and so on. This made it easier to digitize, because there was never any concern about pre-roll for new scenes, due to timecode breaks. In a file-based world, I don't think this is significant anymore. I believe TOD (time of day) makes more sense, but it's a decision that has to be made by the producer and post team.

Note that the timecode is the easy part. Recording the sound on the set, getting the right microphones and putting them in the right position, avoiding noisy location problems... those are the hard parts.
 
Brandon, hire a professional field sound recordist - will be the best money you ever spend on your productions.

Dual system is NOT old school. its THE school for optimal audio recording. :)

cheers and happy shooting!
 
I love you guys (even the ones who hear screaming in their heads when reading caps)
So appreciated!!! (Careful, I'm also told that reading exclamation points may casue bloating)

:)
 
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