[Ryan Krickow]

Luckily I haven’t started editing yet so it’s not too late. I’m not quite sure I understand the different takes, or different angles question. We’ll have multiple takes but it’s a one camera shoot so never multiple angles of the same shot-I believe that’s what you’re asking. Just to clarify… when we’re discussing ISOs it can stand for both “isolated” video tracks or audio tracks, correct? Finally, does losing the audio track names when Merging clips cause problems for post sound? Thanks, Ryan

[Ryan Krickow]

Thanks for getting back to me Colin! To elaborate on my syncing question… One potential method of dealing with all the audio tracks is to use the Merge Clips command (found under the Modify menu and by Ctrl-Clicking on selected clips). In the Browser you can highlight your video clip and all the audio tracks that are associated with that shot, Ctrl-Click, and choose Merge Clips. There’s an option to have them synced based on timecode, in-point, out-point, etc. After that a new clip appears in the Browser with the suffix “Merged” attached to the end. From there you can drop the clip into the timeline (note that all the audio tracks will now have the same name as the video clip) and delete every track but the production sound mix tracks. Now you can edit the movie and then using the method you described you could place all the audio tracks back into the timeline. When I mentioned Merged vs. Linked this is what I was referring to (Linking is similar to Merging but it is done in the timeline). In the beginning there has to be some kind of connection set up between the video and audio tracks otherwise I just don’t see how you can lay all the tracks down using the method you described without first setting the in-point of each audio track to the in-point (timecode) of each video clip. I’m probably just missing something here. Thanks, Ryan

[Ryan Krickow]

Cool, so if there aren’t any speed changes in the film then importing the BWFs with timecode (and metadata?) into FCP will work fine for editing and delivering (in OMF) to post sound? Thanks, Ryan

[Ryan Krickow]

Thank you Colin! One thing I’m not clear on is how exactly you are getting the audio clips to sync up with the picture once you use the match frame function. Maybe I’m just not clear on what is meant when you say “patch your tracks”. Also, do you typically merge the production sound mix with the picture or link it? Finally, what do you usually do with the background ambience track? Do you just leave it on the drive or lay it down on a track of its own? Did you have any music or sound fx tracks in your timeline? Thanks again, Ryan

[Ryan Krickow]

Thanks so much Stephen! In regards to leaving in the clapboard… Did you leave in the slate being called out and then the clap or did you just start with the actual clap?

[Ryan Krickow]

I’m kind of looking to see what is standard in terms of dailies, that way I know the options. Most likely it’ll just be up to me to create a disc that is easy to navigate and has the footage all synced up. That being said do you have any thoughts on what is standard in regards to the…

1) Menu
2) Where to begin a shot (clapboard or action?)
3) Order of footage (by scene or the order shot?)
4) Use of burn in timecode

How do you usually set up your dailies?

Thanks, Ryan

[Ryan Krickow]

Ok, cool. In that case would it make sense to cut the movie with the production sound mix and then once the picture is locked add all the additional audio tracks to the timeline before exporting the OMF? The only other option I can think of is to merge the picture with all the production sound tracks and then just mute every track except for the production sound mix while editing. Which of these workflows makes more sense to you? Thanks for your help, Ryan

[Ryan Krickow]

Post sound said that it would be fine to deliver an OMF of the production sound mix and the individual ISO tracks on a separate HDD. I’m trying to determine if there is a way in FCP to edit with the production sound mix and still have the ISO tracks included in the OMF so that post sound doesn’t have to go through and find each track on their own. If you have any advice in this regard I would really appreciate it! Thanks, Ryan

[Ryan Krickow]

This has been such a huge help! I just need to clear up a couple more things if possible. Can I get both a mono polywave mixed track and individual ISO tracks from the production mixer? As far as timecode I’ve read that I should use 29.97 NDF on the field recorder and jam sync the camera’s (shooting at 23.98) timecode with it, is that correct? It seems more practical to run the field recorder at 23.98 but I’m not very knowledgeable in this area. I don’t know if the fact that this is an HD project makes any difference when it comes to timecode. Finally, when I go to deliver the audio to the sound designer would I give them an OMF of the cut mono polywave mixed track as well as a HDD containing all the individual ISO tracks?

Happy Holidays Ty,

Ryan

[Ryan Krickow]

Thanks Ty! If I can ask you a few more questions I’d really appreciate it. One simple question… each channel on a field recorder can record 2 tracks, correct? I assume this is a stereo recording and if you just want to record a single mono track I can. Second, are the BWFs saved as separate files for each channel or each track? Is there a choice? For a film would you include the scene, shot, take, and track number in the file name (example: 27-01A-01-T2)? Third, would I want to jam sync the camera to the field recorder’s TOD timecode or would I want to jam sync both the field recorder and camera to a smart slate if we have one? Finally, how are the audio dailies usually delivered to the editor–by Data DVD or hard drive, correct? Thanks again, Ryan