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Music Video Audio Recording
Im shooting a music video, with a budget believe it or not. I have to shoot the different scenes of the video and then lay the music track afterwards in Final Cut Pro. The artist has the music on a CD, since he recorded it himself. So I was going to copy the music onto a recorder.
So is the best way to do this to record the master song onto a recorder such as a 702T, then shoot each scene using the timecode from the 702 into my HVX 200? Playing it back while we shoot the scene so the artist can lip sync to it. I was going to do it the way I have in the past by simply slating each section. But I just recently added to my arsenal a 702T. (I havent gotten it yet, just ordered it)and have been researching using timecode . I dont think the camera can directly accept the timecode from the 702T, cause it will only take TC via firewire.
Anyone’s help is greatly appreciate it. Cant get enough of the cow..
George
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4 Replies
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I doubt that you will be getting the TC from the audio recorder INTO the camera via FW.
Cameras that DO accept external TC (many don’t) only do so via special jacks marked “TimeCode” built into the camera.BUT, you DON’T WANT to take the timecode FROM the audio recorder to the camera for each take.
Why?
Because then your tape would have the SAME SECTION of TIMECODE,
Repeated, over-and-over on the tape (each new take would have the identical TC to the previous take…
WOW, what a mess!
You’d never get the tape captured correctly (couldn’t tell takes apart from each other) and you could never “batch capture” that tape again. -
[Matte Blume] “BUT, you DON’T WANT to take the timecode FROM the audio recorder to the camera for each take.
“Yes you do! This is the only way to sync multiple takes correctly unless you use a time code slate and shoot it at the head or tail of each take.
The best method is to make a high-resolution bounce to your 702T or use the best source you have available – this will eventually become your master track. With time code now locked to audio, you can play this back on set while feeding camera(s) time code. They will be in slave mode and free-run. Every time you playback the 702T, the cameras will jam to the TC and, yes, it will repeat every time. In post, don’t worry about capturing via TC, just capture the entire tape or do a “capture now”. Also transfer the audio file from the 702 to FCP. You can use the original file as long as the sequence settings match the audio settings of the file; i.e.; 24-bit/96k. Now all you do is stack the takes on the timeline and use the time code overlays to sync them all – then use the multi-cam function to edit on the fly.
After its in the can, use the media manager to archive all the used footage and give it plenty of handle (about 6 secs). If you’ve got a spare drive, archive all the footage and project files.If your cameras don”t accept external time code, use a time code slate or reader and shoot it at the beginning of each take, then use the visual TC to sync.
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Thanks Will,
After reading so much, I thought that this would be the best way. Im investing in the 702T to do the master recording and have a timecode on the audio. Since the HVX wont accept timecode in from anything other than another video cam in DV mode or another HVX only to sync up multiple cameras, then I will slate each shot, and use the timecode from the 702T. Then like you said, import the audio from the 702 to line up each shot with the timecode. thanks again.
George
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Another option -if you happen to have an external time code reader – is to send TC from the 702 to an audio track on the camera. In post, use the TC reader on the output of the audio track to display TC. I tested this with a Horita LTC/VITC reader and it works – but you would probably want to test it with your exact TC reader before the shoot.
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