Midwest Soundcatcher

[carbonhobbit]

     First, I would like to thank everybody for this forum and RAMPS. I'm learning alot from them. I'm a soundperson located smack dab in the middle of the US. I've been a sound person for over a decade learning on the old beta format. I've done it all from news to small movies. I've been doing sound on DAT's for film and straight to camera for video and HD is just starting to show up here. (The horses are slow and we roll up the sidewalk at night.)

     I'm trying to decide where to go next. Film is beening used less and less and nobody has asked for back-up recordings yet. Once client has the Panasonic AG-HVX200, the other has the older 100's. I'm thinking of getting a SD 744T, but time code won't jam with these camera. Thinking that I would have to go back to shooting the slate like in the film days.

     I'm with you all on rates and production pulling fast ones. I'm a one man band flayling

away out with the rest of the sound people. Production doesn't think much of us, but when it doen't work in post, they sure come down on us. Somedays I would much rather be a grip/electrican where the worry is done when the truck doors close.

    Thanks for your time.

     Scott Lynam

[Philip Perkins]

I find the whole advent of the popular smaller Panasonic cameras very discouraging, mostly due to them having no way of getting LTC in or out of them.  We now finally have several good options for double system sound recording for video that can accurately follow TC transmitted from the camera in an "auto or triggered" record mode, but the new cameras now prevent this.  I know that there are other options using LTC recorded on a camera audio track etc., but they are all inelegant, kludgy, require too much extra work in post and require the use of (gasp!) free-run camera TC, which no one from the traditional video side wants to hear about.  I hear that the HVX can output TC via firewire (woo hoo!), but don't see anyone rushing to make us an affordable, small, rugged, DC-powerable box to translate that code into LTC.  So.... TC slates and manual sync

in the edit system I guess.  Actually, on most of the double system work I do we just use an old-fashioned non-electronic

clap slate, but in those cases the audio file has been timestamped with TC that is the same (we hope) as the camera take.

Philip Perkins

[cmassey]

Good old fashioned non-electronic slate...or maybe the documentary makers friend, the bloop slate?  We have been doing small projects on those pesky PANNY cameras that way, and all involved seem to be happy.  This was to DAT, but hopefully I am moving into some kind of CF/DVD/??? based recording system this year.  I guess that is one of the reasons I have several boxes of stuff that appears as if it should be thrown away, but it isn't.

cleve

[Sergio Sanmiguel]

     First, I would like to thank everybody for this forum and RAMPS. I'm learning alot from them. I'm a soundperson located smack dab in the middle of the US. I've been a sound person for over a decade learning on the old beta format. I've done it all from news to small movies...

Hello Scott,

I absolutely relate to what you are saying.  I moved out from Los Angeles and into the Mid West area a couple of years ago, and since then haven't used my TC recorder & slate but a few times. I actually have had to go back to LA to shoot Film a couple of times. On the other hand, I've done a bunch of documentary work here in the Mid West, for which I found that a small HD/Compact Flash recorder is a must. And if you want to be prepared for the future I would recommend to get at least one of the new SD207T recorders...

Cheers!