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How would YOU send a mix-out to camera under (these) conditions?


MattinSTL

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I have to admit to being dumb about the whole drop / non drop issue and when to use or not use it. At the same time, I only reported what the camera guy called it, and my understanding is that 25fps is a UK standard, rather than a USA one. My concern was that I know this project is destined for a US cable network, so delivering something 25fps might bork what they were expecting.

No matter what, timecode sync might have made them less irritated (had we had it), but their ultimate desire was specifically what went through the hops, just like your experience. *sigh* I guess we 'carefully prepare' the files for our own sanity, hmm?

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" we're not matching timecode (cameras loosely sync'ed via time of day TC)... " yellow flag...

is this a proper show? do they have proper equipment? do they have a clue ??

" 4. Ask them what they want. " + " this Producer isn't saying what they want... "

you are asking the wrong person(s)...

I see you figured that out " There's an editor rough-cutting right on site... so I'll ask him how he feels about it, AFTER asking the producer of course! ".

" I have to admit to being dumb about the whole drop / non drop issue and when to use or not use it. "

yellow flag on.... you. penalty = $50/day off your this is basic stuff in the USA (penalty in Europe is -25/Euro/day)

" avoid 30-frame DROP, which technically exists, but 99.99% of most machines and systems can't use it. "

err... 30DF is not part of the SMPTE standard, though there are several proprietary implementations.

" This is budget work... i.e. bang it out and have it ready to turn around quickly... ideally everything right on the camera. " yellow flag for proper $$ vs unreasonable expectations.

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Now you are using "flags" as a means of making your posts more obtuse and confrontational? Yea, whatever.

I don't have a lot of experience with specific FRAME rates, because I'm a sound mixer. My knowledge of frames is that I want to keep the boom out of them. I also don't get a lot of timecode gigs, because toy cameras like the 5D that more and more shows are using... Don't support timecode anyway. So what I set my 702T at... Doesn't really matter.

This gig was the first time in about 6 months that I've been into the timecode menu to make any adjustments. Seriously. I'm debating purchasing a timecode slate, for the simple fact that even the dumb slate hasn't come out of the pelican in about 4 months. If they want anything, it is JUST the raw sticks I yanked off a broken slate... And even that hasn't been used much.

Just about everything I've been doing is reality TV. I don't envy the editors at all.

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Now you are using "flags" as a means of making your posts more obtuse and confrontational? Yea, whatever.

I don't have a lot of experience with specific FRAME rates, because I'm a sound mixer. My knowledge of frames is that I want to keep the boom out of them. I also don't get a lot of timecode gigs, because toy cameras like the 5D that more and more shows are using... Don't support timecode anyway. So what I set my 702T at... Doesn't really matter.

This gig was the first time in about 6 months that I've been into the timecode menu to make any adjustments. Seriously. I'm debating purchasing a timecode slate, for the simple fact that even the dumb slate hasn't come out of the pelican in about 4 months. If they want anything, it is JUST the raw sticks I yanked off a broken slate... And even that hasn't been used much.

Just about everything I've been doing is reality TV. I don't envy the editors at all.

The frame rate you set your 702t to does matter even though they may be using a 5D. The footage still gets dropped in to a timeline with a specified frame rate and if your audio has accurate timecode it helps tremendously. The timecode slate is even more important on reality shows where there is no traditional Scene and Take numbers. The editors must have sync reference; timecode is king, a clap slate is great, and PluralEyes is somewhat useful on reality shows.

As a sound mixer you absolutely need to know about frame rates for both your gear and how the cameras handle frame rates and timecode.

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It's pretty easy to set the frame rate... even on the HDP2... it's 2 clicks. I always ask the cam-op or DP (if he's both) at the beginning of the shoot.

All week one gig is 23.976 (they said NOT 24... so I set to 23.976, not 24)... and the other is 29.97 (not 30).

For the existing national show... they wanted MP3s instead of BWF... Now I'm trying to decide between getting a 552 and selling the 442... or simply getting an H4N that I can alternate in the bag... but I'd have a bit of a hard time buying a 552 in light of the 664... which (at my point in the game) looks like absolute gear porn :)

Also... about sending mix-out? After the replies here I made sure I had all the remote audio cables to do it in any conceivable way... (okay that's only 3 cables from Trew)... and I did talk to the editor and he also liked the idea of creating as much ISO as possible... i.e. 2 cams each using onboard mkh60... with cam A getting boom on ch2 and cam B getting lav-mix on ch2. He specifically said if there was a choice, do what's likely to sound best vs. making his job easier. I like that guy. That was a good answer.

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