Can I use a 30fps DAT when recording in 24p mode video?

[Frank Nolan]

After reading the specs on the D888, I could not find anywhere a mention of it having any timecode capabilities. So if your goal is to be able to re-sync via timecode in post production you are looking at the wrong device. If you want to just record the audio seperately and sync via a clapper board, later then it would work. The record speed is not an issue as there is no pulldown involved when shooting video. However a couple of things to note if you are going to use this device, It only records at a sample rate of 44.1khz. Most NLE’s use a sample rate of 48khz so you would need to do a sample rate conversion on the files.
Also be aware that when shooting to multitrack, each channel will not be totally isolated from the others. For instance if you have 3 actors in a scene all on wireless lavs plus a boom going to 4 discreet channels, the only advantage to having the lavs split is if you were to get an RF hit on one mic the other channels should be clean. As far as the actual dialog, you will still get bleed into each mic from the different actors, so if they talk over the top of each other you are better off using the boom channel. Depending on proximity to each other this bleed can someimes be right “on mic” if two people are facing each other, to very “off mic” and hollow sounding if across the room from each other.
The HVX records audio at 48khz so if you are shooting a feature, unless there is a very compeeling reason not to, your best bet would be to have a good sound mixer on set, pan the boom left and send it to channel one by itself and then mix all the lavs right and send them to channel 2. That way if there is an RF hit, you will always have a clean boom track to go to. You could also go to a multitrack for back up as well, if needed.

[Will Salley]

The timecode format is irrelevant because there is no way to get useable timecode out of the HVX200. The best solution is to buy or rent a Sound Devices 744T (4-tracks with full timecode i/o) and send TC into the camera on an audio track. In post, they will need an external TC reader. I also agree with Frank about acquiring at 44.1 – unless you have a way to convert the audio (and the time), shoot at 48k, otherwise it will be a syncing nightmare. I think FCP will playback both rates on the timeline but it requires extra processing and eventually a mixdown to do it.

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