dual sound recording

[Noah Kadner]

Doesn’t matter- 24p and 29.97 will both sync fine. Shoot whichever look you like best.

Noah

[Mitch Gross]

Depending on the system your soundman uses the audio may have a reference timecode associated with it. It can be useful if not just plain easier and less confusing to match timebases. You cannot jam-sync with this camera, meaning that there is no way to get the exact timecode fed into or out of it to another device, but you can at least be sure to use the same type of timecode. In that regard, you should understand that while you are shooting at 24p (really 23.97) you are in fact laying down the video as 29.97 with pulldown. So if you use 29.97 on the audio’s timecode then you will have a matching numerical system. For this type of work I would recomend running both the camera and the audio in non-drop timecode mode so that the numbers are sequential with no skips.

There can be a case made for 24.97 timecode reference in the audio. This is if you plan on shootin your video in 24p (23.97), dumping it into your edit system and then imediately extracting your flagged frames to edit using true 24p frames only instead of a 29.97 timeline. In this case you would sync the material with the video in 24p. Again the timecode in 23.97 should still be non-drop. If this doesn’t make sense to you then don’t bother and just record audio at 29.97.

In the end anything will work but you might have to scratch your head a couple of times in the edit until it becomes clear. Just remember that there is no way to jam-sync the timecodes between the audio and the video. In the past I’ve done this with a simple clapper slate and noted the difference between sound and picture numbers as the same repeated offset for the run of the tape.

Hope this all didn’t just confuse you more.

Mitch

[David Jones]

If the sound engineer is a pro you should be OK.
He or she can select the frame rate before recording if using a pro app,
for easy layback later.

[Steve Wargo]

Ask Robert Rodriquez about the pitfalls of recording audio at 23.98 or 24. Besides, the DVX100 does not record at 24 or 23.97. It records at 29.97 only. You can remove extra frames if you want but then what? You can’t record a 24 frame sequence to anything and if you could, what TV or monitor would you watch it on?

We shoot with a Sony F-900 which actually records at 23.98 (or 24) and, if needed because of multi-tracks, we always record sound at 29.97.

Steve Wargo

[David Jones]

[Steve Wargo] “Ask Robert Rodriquez about the pitfalls of recording audio at 23.98 or 24”

Steve,
There are many of us that learned the proper way to sync audio with film long before Robert Rodriguez
made his first movie on the cheap, its not that big a deal.

[Steve Wargo] “You can remove extra frames if you want but then what? You can’t record a 24 frame sequence to anything and if you could, what TV or monitor would you watch it on?”

Are you forgetting that you can edit 24p with FCP or a number of computer based editors,
and output to DVD in 24p, not to mention view the finished product on any number of monitors that support a progressive frame rate.

Have a cup of coffee and catch up on technology.