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Recording Rates for 24p HD
Good Morning,
I am producing a short film which starts shooting tomorrow.
We are shooting with the Panasonic HVX in 24p HD using P2 cards, etc.
We are recording a live mix directly to camera and also recording iso tracks of all mics on set to DVD Ram.
We are posting in FCP latest version using newest Mac Pro. Sound post will most likely be in Pro-Tools.
My Production Sound Mixer has 30+ years experience mixing films, but is new to video.Our Questions are:
What frame rate do we record at?
Bit Rate?
Sample rate?Should we simply go for the fattest data tracks?(i.e. Higher Numbers?
Please let me know asap.
Thanks.
-Leigh Rathner -
3 Replies
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It depends on your edit workflow and your final output.
I assume you are asking about timecode for audio since you already said the video is to recorded at 24 f.p.s.
If you are keeping it 24P all the way through post, with no pulldown conversion, then record the audio timecode at 24 or 23.97 if it’s NTSC. This would be a usual workflow for printing to film. Otherwise, record the audio TC at 29.97. 16bit/48k matches the HVX resolution.
System Info – G5/Dual 2 – 10.4.8 – QT v7.1.3 – 8GB ram – Radeon 9800Pro – External SATA Raid – Decklink Extreme – Wacom 6×8
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Match your audio timecode format to the timecode format that will be on the picture by the time the project gets in the sound engineer’s hands. Mismatching makes EDLs undecypherable and future edits and re-conforming hell and will not make you any friends on the audio side, trust me.
As for bit-depth and sample rates, 24/48 should be your minimal goal. If you want HD audio to go with your HD picture, 24/96 is your minimum. Even if the final delivery format ends up being 16/48 (and that’s not HD in any way), give your sound guy a hand and record at a 24-bit depth. The increased dynamic range at the recording stage will give a lot more wiggle room to get decent level without clipping or falling into the noise floor. 16-bit can be great, but you need a very good sound recordist for that.
Good luck on the project.
JC Boulay
Audio Z
Montreal, Canada
http://www.audioz.com -
You may want to read this first:
https://www.locationsound.com/proaudio/ls/tips/techtips17.html
Opinions differ on this matter and you might want to do some testing prior to shooting rather than taking anyone’s word for it.
On our feature films, we’ve followed the wisdom from this article and have had zero problems. We have an F-900 and have never used an HVX200.
Good luck.
Steve Wargo
Tempe, ArizonaIt’s a dry heat!
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