Duh (excuse dumbassitude, but): We have master takes recorded direct to sound guy hard drive as well as the sync sound from the RED takes themselves (which I am editing with)... My understanding is that the feed to each was identical, so, as both are digital — what, exactly, is the diff? TIA.
Welcome to our community
Be a part of something great, join today!
Why wouldn't I finish with Red sync audio?
- Thread starter veebis
- Start date
- Banned
- #2
Gunleik Groven
REDuser Sponsor
Could be different sampling rates...
Zakaree Sandberg
Well-known member
His recorder is probably better
jimhare
Well-known member
I have done both. In the old days, before the upgraded audio board, the difference was night and day. You could actually recognize when something had been recorded direct to camera.
But now, I honestly think you would have to A/B with a high end audio recorder to notice a difference. For this reason, I'm more than happy to use audio recorded to camera 95% of the time.
Even when I have audio recorded separately, it's more for safety than anything. The pain of gathering all the files and syncing them up for what may or may not be a slight improvement, just doesn't seem worth it most of the time.
Just my experience. If I had huge budgets and lots more time I would certainly choose to double record, but I prefer to keep things as simple as I can and this is about as simple as it gets!
But now, I honestly think you would have to A/B with a high end audio recorder to notice a difference. For this reason, I'm more than happy to use audio recorded to camera 95% of the time.
Even when I have audio recorded separately, it's more for safety than anything. The pain of gathering all the files and syncing them up for what may or may not be a slight improvement, just doesn't seem worth it most of the time.
Just my experience. If I had huge budgets and lots more time I would certainly choose to double record, but I prefer to keep things as simple as I can and this is about as simple as it gets!
Jochen Schmidt-Hambrock
Well-known member
Some recorders have additional compressors / limiters on their line in. That might be an advantage.
Or not.
If the signal from the RED is neither clipping nor deeply underleveled, I would not care for anything else.
Jochen
Or not.
If the signal from the RED is neither clipping nor deeply underleveled, I would not care for anything else.
Jochen
Chris Pickle
Well-known member
use the Red audio! it will save you major heart ache. We are working on two feature films using the second system sound (edirol) I HATE it. The work flow is a nightmare. We are lower budget, but still.. Not to be a shit disturber, but most people who say syncing audio from another system is easy, have never done it, or have never done it on long form, or they had bigger budgets and could pay someone to assume the heart ache.
Chris
Chris
Matthew Freed
New member
- Joined
- Dec 2, 2009
- Messages
- 3
- Reaction score
- 0
- Points
- 0
- Location
- St. Paul, MN
- Website
- www.matthewfreed.com
Never use the RED audio for anything other than a reference!!! A good audio recorder like a SD744t, SD702t, etc has far superior audio quality than the RED. The first audio boards on the RED were horrible, the second boards are only slightly better.
If on set you're using a Sound Devices recorder with time code it should be what jams time code to the RED unless a separate box, like a Denecke, is used. The RED does only one thing well: take pretty pictures. Both the audio quality and the clock suck on the RED.
All you need to do is use an audio recorder with time code (which should ALWAYS be used on set) and jam the RED from the recorder. That will give you time code that is (should be) in step. ALSO slate each take so you have the visual and audible cue for syncing in post.
In post, if your editor is worth being called an editor, syncing audio should be a breeze. You simply find the correct audio file (which should be labeled Scene Number_Take Number_Track Number.WAV) and have FCP or Avid lock them together with time code. You then double check the audio spike with the frame where the clap hits and wham! You have synced audio that sounds a million times better than the RED audio!!!
Now, let's hope, pray, and do a rain dance that someone was smart enough to hire a good, qualified sound person with good audio gear and not whatever PA had a blank look on their face when asked if they could hold a boom pole.
If on set you're using a Sound Devices recorder with time code it should be what jams time code to the RED unless a separate box, like a Denecke, is used. The RED does only one thing well: take pretty pictures. Both the audio quality and the clock suck on the RED.
All you need to do is use an audio recorder with time code (which should ALWAYS be used on set) and jam the RED from the recorder. That will give you time code that is (should be) in step. ALSO slate each take so you have the visual and audible cue for syncing in post.
In post, if your editor is worth being called an editor, syncing audio should be a breeze. You simply find the correct audio file (which should be labeled Scene Number_Take Number_Track Number.WAV) and have FCP or Avid lock them together with time code. You then double check the audio spike with the frame where the clap hits and wham! You have synced audio that sounds a million times better than the RED audio!!!
Now, let's hope, pray, and do a rain dance that someone was smart enough to hire a good, qualified sound person with good audio gear and not whatever PA had a blank look on their face when asked if they could hold a boom pole.