3 XL-H1's, and an HD DVD record switcher

[Michael P Clark]

That's what I have staring at me. I also have 8 RxTx and they want them ISO, so I have 2 744t running also. I've never run this setup before, so I am asking for any pitfalls some of you who have run this.

These camera's have TC capabilities, as does the deck. I can keep the 744's in sync with just the c-link cable(can anyone tell me if I need to use some special cable that ISN'T a standard telephone cable). That gives me 2 TC outs. 1 to the switcher and 1 to the cameras(or should I jam every 3 hours). Will these cameras stay in sync if I jam,  as opposed to linking the cameras via BNC? Do they need the Genlock also between the 3 cameras and deck to stay in sync?

We are thinking TOD 29.97DF(cameras are in DF only?)

744 questions...Can I burn to DVD with linked 744's and get all the audio burned together? Is linking and burning even advised? Any suggestions on naming files?

Also, potential ad-libbing from main actor during music playback. A recent curve ball. Can someone describe a thumper track setup? They have a cd of the music. I don't have a low pass filter on any mixer I own, so is it even possible? I'm worried the ad-libs will be unusable even if the music is at low levels, so I've prepped them on possible on set ADR. They are short 2-3 word ad-libs at best, so there's a fighting chance she can reproduce close enough.

Thanks

Mike

Critical file management is at hand here, any suggestions is more than welcome.

[Philip Perkins]

That's what I have staring at me. I also have 8 RxTx and they want them ISO, so I have 2 744t running also. I've never run this setup before, so I am asking for any pitfalls some of you who have run this.

These camera's have TC capabilities, as does the deck. I can keep the 744's in sync with just the c-link cable(can anyone tell me if I need to use some special cable that ISN'T a standard telephone cable). That gives me 2 TC outs. 1 to the switcher and 1 to the cameras(or should I jam every 3 hours). Will these cameras stay in sync if I jam,  as opposed to linking the cameras via BNC? Do they need the Genlock also between the 3 cameras and deck to stay in sync?

We are thinking TOD 29.97DF(cameras are in DF only?)

744 questions...Can I burn to DVD with linked 744's and get all the audio burned together? Is linking and burning even advised? Any suggestions on naming files?

Also, potential ad-libbing from main actor during music playback. A recent curve ball. Can someone describe a thumper track setup? They have a cd of the music. I don't have a low pass filter on any mixer I own, so is it even possible? I'm worried the ad-libs will be unusable even if the music is at low levels, so I've prepped them on possible on set ADR. They are short 2-3 word ad-libs at best, so there's a fighting chance she can reproduce close enough.

Thanks

Mike

Critical file management is at hand here, any suggestions is more than welcome.

I would not trust feeding these cameras TC unless you can get all the gear in one place during the prep and wring it out.  Otherwise I'd let camera do their thing and you take TC from them, cabled if possible so your TC follows the TC drift of whatever camera they make the master.  Slating takes is a good idea too in case there is a problem w/ the TC anywhere (good notes too). 

You'll have to burn the DVDs for the 744s separately.  I'd suggest keeping things simple take naming-wise and do a simple ascending take number, trying to keep them the same on both machines.  (Again--good notes.) 

Is the music you will be playing back to the actor for ad-libs the music they will be using in the final, in that sync relationship?  If so you can probably get away w/ tight micing and low-level playback.  Another thought is an ear-bug rig if the shot isn't too CU to see it.  The thumper can work if the actor knows the material and it is steady beat, but it does require a large speaker and amplifier, as well as prepped tracks (low passed).  I'd try to sell them the bug or your wild line idea first.

Philip Perkins

[Michael P Clark]

I would not trust feeding these cameras TC unless you can get all the gear in one place during the prep and wring it out.  Otherwise I'd let camera do their thing and you take TC from them, cabled if possible so your TC follows the TC drift of whatever camera they make the master.  Slating takes is a good idea too in case there is a problem w/ the TC anywhere (good notes too). 

That's a good idea. If they are all daisychained from one camera to the other(ie. Cam A to Cam B to Cam C to Deck) where do you suppose I should jump in line. After Cam A, with a BNC-T, or will it be alright to pull from the Deck?

Is the music you will be playing back to the actor for ad-libs the music they will be using in the final, in that sync relationship?  If so you can probably get away w/ tight micing and low-level playback.  Another thought is an ear-bug rig if the shot isn't too CU to see it.  The thumper can work if the actor knows the material and it is steady beat, but it does require a large speaker and amplifier, as well as prepped tracks (low passed).  I'd try to sell them the bug or your wild line idea first.

Philip Perkins

Yes it's the track they will use. I mentioned the Ear bud idea, it intrigued them, but there were other actors that needed to hear it also, for dancing.

Any idea on the c-link cable?

Mike

[David Glasser]

I can keep the 744's in sync with just the c-link cable(can anyone tell me if I need to use some special cable that ISN'T a standard telephone cable).

According to the 744T manual, you must use their C-link cable, and not a telephone cable.

Regards,

David Glasser, ASSG

Sydney, Australia

[Michael P Clark]

Yes, that is true. Most phone cables are 2-4 pins only. Thankfully I easily tracked my cable down.

Just finished the job. What a nightmare! The pay was great, because 7 kids insured big OT, but that was very draining. Everything with the linking worked great. The c-link only once didn't work. The 3rd take of the day, the TC was different on both machines. The Slave was 10 minutes behind. I saw it right away, and checked the TC mode, and it was EXT, I switched to EXT/Cont, and it re-synced with the master. I switched back to EXT, and it was still fine. Takes 1 and 2 matched. Not sure what happened there, but it never happened again. It would be cool if SD could link the Scene names also. That was about the only drawback. Recording to CF is definitely the way to go. Not having to burn 2 discs saved hours. Just handed the CF off to the editor and they dumped them before I wrapped.

I also linked 2-442's...ugh! That was the biggest pain. Next time it's a linear panel....hopefully.....someday.