[Tony West]

[Herb Sevush] “It doesn’t work that way, the entire edit is done in multi-cam mode, you don’t start in one mode and then switch later on. Also I never know what I’m going to have to fix till I make the edits.
“

I just shot a cooking show with 5 cams 9 ch audio. I didn’t cut it. The station did in 7

I would have liked to have done it in X so I could put it to that type of test.
I’m pretty confident I could have got it done.

For me it comes down to pros and cons

pros:
I like that audio sync
I don’t waste time with jamming tc in field
64 bit
and other tools

cons:
audio funky to handle in multicam mode

Pros out number cons for me.
I guess it’s the same for that guy that started the thread in the first place.

[Tony West]

[Herb Sevush] “But when I need to go to the iso’s it’s generally for repairing audio “

OK Herb, good points.

My question is this (and I know it’s a extra step workaround that you shouldn’t have to do) but can you repair the audio on that clip before you start your multi-cam edit since it’s hard to do once you get in there.

Like you said

[Herb Sevush] “90 % of the time” you are on the mix so you tweak up RF hits or whatever before, so when you start your edit you are dealing with audio you have already fixed.

[Tony West]

[Chris Harlan] ”
I didn’t ask you to guess anything. You decided to comment to me. ”

Yes, you did.”

paste the line then, instead of your comment.

[Chris Harlan] “I’ve been around big events for far longer than you have.”

This is strange, I don’t know you, so how do you know how long I have been in the business.
If this is true post what year I started and where.

[Chris Harlan] ” I really am not confused about trucks”

Then you should understand what I said about trucks.

[Chris Harlan] “I’ll tell you, though, what is confusing me, Tony; it is that I haven’t the slightest idea what it is you are talking about. “

You keep saying that you don’t know what I’m talking about then I explain it then you say you don’t know what I’m talking about again.

People point out that X can’t handle complicated audio, so my point is one, most shoots don’t have a ton of tracks of audio. More times than not it’s one person on camera at a time. And two, when you have a big muti-cam shoots with many mics, that sound is mixed down before the editor gets it. so that’s a job that X could handle also.

[Chris Harlan] “some sort of conversation that makes me feel like, well, I’m on mushrooms.”

I feel that way to about you.

If other people on here thought I was confusing I would give it a thought but they are not.
It’s just you.

I don’t really enjoy conversing with you and you don’t enjoy conversing with me, yet you keep sniffing around my post seeking to communicate with me.

I find that behavior………weird.

[Tony West]

[Chris Harlan] ” so I don’t know why you are asking me to guess. “

I didn’t ask you to guess anything. You decided to comment to me.

You assumed those two examples I gave were the only types of events.

I didn’t ask you to assume that.

Big complicated event audio uses trucks for the most part and the sound is mixed down.

I don’t know what’s confusing about that.

[Tony West]

[Chris Harlan] “Yeah, that would be a challenge. Fortunately, I’ve never seen such a thing in the kind of format you are talking about.
“

But what am I talking about? A round table, entertainment show or Supercross that’s not live but needs to be posted for air at a later date.

It all goes to the same point. Complicated audio on multi-cam shoots mixed down before it leaves the truck for post.

Dude wait! Don’t plug all that audio in! People have not seen such a thing!

[Tony West]

[Chris Harlan] “That might be the case for your truck, but on the large unscripted stuff I’ve worked on, there are definitely more than four audio/video ISOs available–usually one for each lav, a couple of booms, and a static room mic. Of course that’s in a studio, so its easier to manage.
“

Of course, I think most people know I’m not suggesting we are all working on the same shows, that should go without saying.

I was just on a job like you described two weeks ago. The audio might be handled funky by X right now in that case but still can be done.

My point is I’m willing to deal with that because of the ease in other parts that I like.

That’s what that guy in the video was saying. He didn’t like everything in X but he liked more than he didn’t like and he got the job done with it.

There are a gazillion shoots where there is only one person on camera at a time.

Carpet commercial, hotel spot it’s election time some politician standing there talking.

Then the other extreme I described. If there is a job with 20 mics or more without a truck there to mix it, I wouldn’t want to work that job anyway.

[Tony West]

[Rafael Amador] “but what this means for the people that is not on sports and news?”

There are plenty of people on here using X for things other than sports or news my brother, just look around on here.

He–, I’m the only one talking about sports, everybody else here is talking about something else.

[Tony West]

Andy, awesome breakdown.

Thanks man

[Tony West]

[Andy Field] “that’s a big missing feature”

Yes, it is. I’m just making my adjustments in the timeline. (BTW I love those faders that he talked about)

Remember most of the events I’m working on are out of million dollar remote trucks.

Games aside, if we do a multi-cam round table for MLB or heck Oprah was just here,

the client wants all cameras isoed so they can do their own cut later sometimes, but the sound is mixed from the truck and sometimes submixed from the stage to the truck. They might just say give me the straight mix off the x-file or want certain talent mics to go with the camera that his that talent.

In the case where they want talent broke out they STILL take the main mix from the board on one ch (or two if it’s stereo) because they just don’t want to re-mix the whole show. They want to cover themselves and that’s cool but no matter how big their show is, and I don’t know many people bigger than Oprah, at the end of the day they are leaving that truck with 4 tracks of audio. No matter how much wire gets hung out on set day.

My point is, the bigger these shows are, and the more complicated the audio is, the more mixed they are, before it ever gets to whoever will re-cut it. At that point the hard work in audio is already done.

[Tony West]

[Herb Sevush] “What else needs to be said about it?”

Just that, you did a good job of explaining why you can’t use it for your work.

I wanted to see more break downs of it pro and con.

I guess like Andrew implied, many must be OK with it.