[Charles Tomaras]

"Sean Conolly" wrote in message
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"Charles Tomaras" wrote in message
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"Sean Conolly" wrote in message
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This is a little related to the previous post....

I did a show a while back where I set up a multitrack recording (MOTU -
DAW) and we also had a guy with a handheld semi-pro camera (some Sony
camera in the $10K + range). We had no way to sync the clock of the
camera with the MOTU, so the guy had to spend a lot of time in post
trying to sync the audio one cut at a time.

This got me wondering how this is normally handled - how do you sync the
audio clock to a camera in a situation where the cameraman is
untethered? Just in case I find myself in that situation again,
hopefully with enough advance notice to prepare for the camera.

TIA,
Sean

You need a SMPTE timecode source for the audio recording and the camera.
If the camera has timecode inputs and outputs (possibly the Sony EX3 in
that price range) you can jam the internal clock or attach a small sync
box externally. The external sync box is the most accurate source as it
will remain stable with less than a frame of drift for many hours. If the
camera does not accept external code you can record LTC code to one of
the camera audio tracks or simply shoot a timecode slate at the top of
each take the camera rolls on. Not sure if the MOTU DAW accepts SMPTE
code or if you have to convert to Midi TC but either way you can feed the
DAW proper code or record LTC code to one of the audio tracks.

Alternatively for live music you can just keep the camera and DAW rolling
for the entire performance or as long as the media will support. Then
sync up the entire performance to the master audio before you cut it up
into individual songs. This way you only have to find a start point and
then do a little timeline dragging to match up the end if your software
will ripple the entire event.

The best sync boxes and slates are from Ambient or Denecke.
http://ambient.de/produkte/timecode/timecode_e.html
http://www.denecke.com/Products/products.htm

It might be worth while to just hire an audio assistant on the next shoot
from the film/video world to help you out. This is pretty basic stuff for
those of us who do location sound for a living and having someone with
experience help you out on the next go round will save you lots of post
time and you'll get the tutorial in the field that will pay off in the
future when you are alone.

This is the bit that I was curious about - radio link for timecode:
http://ambient.de/produkte/timecode/...nd_empf_e.html

I'm guessing this stuff can be rented as needed. At least I know a little
bit about what's involved.

Thanks!

Sean

Review from peers about the ambient radio link have not been great.
Underpowered with range issues. If you want to use TC, the best bet is to
use sync boxes as TC sources.