Questions about file types and workflow

[Richard Crowley]

“lectures” is all we know about your project. Doesn’t sound like something that needs 96K OR 24-bit, OR even double-system sound. Unless there was some other compelling information not included in your question?

Furthermore, one could make a strong argument that keeping the camera and separate sound recorder in sync during the span of a typical lecture will be significantly problematic. I would not want to have to deal with that, especially where there is no opportunity to “pull-up” the video/audio sync by cutting to a different camera, etc.

I would (and typically do) just use the camera audio track for this kind of project. The camera audio is guaranteed in-sync and more than adequate for a lecture sound track. You can extract the track into MP3 during post if you need that also.

You didn’t mention what sort of “postproduction work” you were anticipating, but most any video NLE application would likely do the job. Especially if you don’t over-complicate things with double-system sound.

I typically use 24-bit resolution when I am recording live musical events because I need the increased dynamic range to preserve unexpected peaks without clipping. I have never had occasion to use 96-bit. Even for most music recording it is overkill IMHO. I can’t think of ANY reason you would need 24-bit or 96K sampling for recording speech.

[Jerry Merrell]

Richard,

Sorry I was not more specific.

The subject is a series of continuing medical education presentations. About half of this material will be recorded live in a very controlled environment with the EX3’s and the rest will be recorded afterward with the PMD661. I will be using the same mics in the same room for all recordings. The audio portion will be presented with various charts, text and figures that will follow the video presentation.

I will not be obtaining “double system sound”. I agree with you that if it were possible I would just use the camera’s audio track.

Avid Liquid 7.0 is my NLE. One of my main goals is to blend the audio from the EX3’s and the PMD661 in a way that provides consistent audio throughout.

I realize these are very elementary questions. Not being an audio professional, I am just trying to cover as many bases as possible before starting this project.

Thank you for your advice.

[Richard Crowley]

Sounds like you have it pretty much covered by using the same mics in the same ways for both the sync video recordings and the “wild-sound” audio tracks. I would not expect that you would have any issues with combining the audio recordings from the EX3s and the PMD661. When recording on the PMD661 I would use 48K and 16-bit so that it will match what the EX3 is recording. That will make it easiest to edit no matter what NLE you are using.

[Peter Groom]

Am I missing something here?
If you record audio to the camera AND another recorder, unless theyre genlocked to the same SPG or REF then when you import and have to sync 1 against the other, there will (because NLEs only offer a crude +/- 1 frame edit) be no way of EXACTLY syncing. This will mean there will be either a perceptable delay 1 to the other OR if there isnt then a phase mismatch has to be a real worry. Keep your ears on it in MONO.
Peter

[Ty Ford]

Hello Jerry and welcome to the Cow Audio Forum.

Richard, as usual, has provided some really good advice.

Peter’s concern may have been covered. Why go double system if you don’t have to. I produced a project last SUmmer shooting on an EX-3 and I think it records 24-bit. We went straight to camera from my Schoeps cmc641 and Sound Devices 442 mixer. The dialog sounded great.

I’m more concerned about the unmentioned choice of mics. In lecture situations, I find I get much better sound with a Countryman E6 than with any boom or lav.

Regards,

Ty Ford

Want better production audio?: Ty Ford’s Audio Bootcamp Field Guide
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[Jerry Merrell]

Richard and Ty, Thank you for your advice.

I will try the Countryman E6.

Jerry

[Richard Crowley]

Yes, there WILL be a sync problem if you are recording to BOTH the camera AND an external recorder. But Mr. Merrell said that he was using one OR the other, and such issues are eliminated by his proposed workflow.

Indeed, recording SOME tracks on one device and OTHER concurrent tracks on another device is practically guaranteed to be a big headache unless the clocks on the devices are synced together.

Note that for short takes (<10 minutes is my general rule), most modern digital equipment stays close enough without live synchronization to be adequate for many (most?) projects. But never when trying to record critical concurrent tracks (such as music) to different devices.

[Ty Ford]

and for those you wanting to do multicamera shoots without the benefit of SMPTE to lock the cameras, consider PluralEyes. https://www.singularsoftware.com/pluraleyes.html

It won’t save your butt if the camera clocks run at different speeds and you’re taking long shots, but it auto assembles short shots on the time line if all cameras are getting the same audio.

How cool is that?

Regards,

Ty Ford

Want better production audio?: Ty Ford’s Audio Bootcamp Field Guide
Watch Ty play guitar

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