Quote:
Originally Posted by mini jack  what is the downside of not being able to record with SMPTE? I am guessing from you reply that even if I am able to convert LTC to MTC I still will not be able to utilise it properly? Does this mean I will have to synch everything manually afterwards? |
Yup... you have to realize what is going to happen with the audio after you finish recording it...
The picture is going to get loaded into Final Cut Pro or an Avid Media Composer system. Your audio will also get loaded into this system. If you took great notes and labeled everything correctly, your audio takes will get matched up to the picture takes they belong too... BUT!!! you and the camera operators are never going to be hitting record and stop at the exact same times... Because of this, having timecode stamped into the audio files will make it easy for the picture editor to lock up your audio to their picture. Without it, they need to visually (manually) sync up the clapper to the spike the clapper makes in all the audio files (remember you have 2 booms and several lavs). Most likely they aren't going to bother, and they'll just use the camera's built in mic (or the stereo feed you sent to the camera on the set).
Then they go and edit down the 12~24 hours worth of footage into a 22 minute episode. When they give you the OMF to start sound editing and mixing, you will then have to sift through ALL of your audio recordings to find the little snippets they used from all the different takes and basically rebuild your OMF from scratch (because you didn't use timecode). It can be a huge PITA.
Also, I know protools has problems with timecode when it goes over a certain hour (I think it's either over 12 or over 24 hours). This can be a problem on the set.
I strongly suggest you get something like the Sounddevices 788T. It's designed specifically for this purpose. File naming and timestamping and everything is so much easier with something like that. Plus you can record a mono or stereo mix onto separate tracks simultaneously to recording all the individual mics.
Another thing I recommend is to know what mics you have at your disposal. Most sitcoms are shot on a sound stage, have high ceilings and can get away with using shotgun mics. Since you are shooting in a garage, a cardioid pattern, wide cardioid pattern or hypercardioid pattern boom mics will probably be a better choice than a shotgun. This will also work to your advantage if there are a few people in the scene. With two booms, one boom is stage left the other stage right. With the cardioid (or even wide cardioid) pattern you can pick up an area of people (say sitting at a kitchen table or a sofa) even if the boom is only 2 or 3 ft above them. Also, positioning the booms is probably going to be tough since the ceiling of the garage is going to get in the way. If at all possible, see if they can give you a small LCD feed of the camera. Grab a couple in-ear walkie talkies so you can communicate with the boom operators and tell them when they are in the shots. Sometimes the camera men, DP, and director are focusing on the actors and may not notice the tip of the boom poking in the top of the frame. YOU noticing that can and telling them immediately to "lift it up" could save the shot.
Oh, and by the way, its best if you are AS FAR AWAY from the set as possible. When I've been on set, the production mixer is usually at least 30' or 40' away... often times down the hall and around the corner! LOL. I remember when I was on the set of Alias, they were doing a living room scene, and the sound mixer was down the hall in the office conference room set! The more isolated you are, the more you can really hear what you are getting in your headphones.
Someone else also mentioned using hidden stage mics. This is also a great idea... taping a wireless pack underneath a coffee table and covertly running the wire up into the centerpiece and hiding a mic in the centerpiece could save a take that the other mics don't catch.