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JEsound

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  • Location
    Ann Arbor, MI
  • About
    Audio Engineer, Recordist, Multimedia Producer
  • Interested in Sound for Picture
    Yes

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  1. We have one Sony PMW-300, one PMW-200, and another broadcast Sony slightly older/lower than that. The 300 and 200 will be the standard cameras to use. They both have TC and Sync input. So to sum up what I've heard so far: Get good reference audio if nothing else Best solution would be TC/Sync boxes Second best would be just TC with some added work in post I haven't heard a definitive answer on why TC via Movieslate/WiFi absolutely won't work, but comments on potential unreliability and over-complication are noted.
  2. What have been the hiccups you've noticed when using Wifi TC? Not that I don't believe you, I just want to understand fully what the limitations are. Second question, a tad toward the n00b side: How important is genlock/trilevel in addition to TC? I understand its application in a live-switch situation, to ensure all cameras capture a frame simultaneously. Am I correct in thinking that regardless of TC sync between cameras, without a common frame clock one camera has the potential to drift out of sync from others, just like two un-synced audio recorders might? We will be certainly capturing the best audio we can on each camera, so we'll always have that as a backup to throw into Pluraleyes. My concerns with audio sync, which very well may be unfounded (and I can't know at this point, because I have little idea of what situations we'll encounter) are: Mobile cameras might be in a location with unclear audio (ex. next to a PA, if there is one), or audio not loud enough for a reliable sync (many of these festivals may include acoustic/folk performances) Sheer distance between cameras/recorders introduces delay, so sync is off a bit (also possibly caused by reflections in large, loud indoor venues) I'll have a better picture of the problems I'll encounter once we get on the road. For now, I'm just brainstorming solutions so I don't have to worry, and because I can convince the team to spend a little grant money on infrastructure that will make our jobs easier. That being said, we're not rolling in cash; I doubt we'd be able to purchase more than 2 lower-end sync boxes, so your comment regarding rentals is highly valid and something I'll be looking into more.
  3. I'm working on coming up with a system to manage sync wirelessly over 2 to 3 cameras and 2 or more audio recorders. A little background: I'm traveling around this summer working as the audio department recording music festivals and performances of various genres (mostly folk/etc). The cameras and the audio recorders have the distinct possibility of being spread somewhat far apart, and should be mobile. Currently, the setup I'm looking at would involve sending TC over Wifi from one central, accurate generator to an iDevice attached to each camera/recorder using Movieslate. From my research, this is the least expensive actually workable solution. Pretending for a moment that the above solution works (and I'm open to suggestions otherwise), here's where things break down. Although I'm not necessarily involved with post-production, it is in my job description to make life easiest for the editors. I'd like to be able to take footage from each camera and recorder, throw it in a NLE, and have everything line up via TC regardless of if the clips are contiguous or not. It seems to me like there should be a way to do this, but I haven't found it yet. A verbose explanation of the problem, better than what I can write, can be read here. To reiterate, if I let TC coming from the central generator free run starting at the beginning at the day, all the recorded media from that day will be stamped with a version of "time-of-day". I cannot, however, find a software solution to interpret multiple cameras and audio streams and place them into one timeline based on that time-of-day stamp. What's worked for you? Thanks for the help.
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