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Originally Posted by Etch-A-Sketch  My apologies. The ones i've seen used look very similar to the undercoats. Maybe there is another product that looks similar but works more effectively? The ones that were used on a project I edited worked great and I didn't have any problems with the dialogue when it came time to edit.
Also, I understand the need for mobility in most situations. But this is a static shoot. There is no movement. The set is in a garage. There are no "locations" from what the OP has described. I agree he should keep it simple, but short of dropping a few grand to do it right, why can't he setup his "cart" using a computer until the show gets picked up and he gets a budget to buy a nagra or SD recorder? I mean, he knows a dedicated recorder would make it easier for him but he just doesn't have the money. Obviously the timecode issues are a huge hurdle, but other than that its really whatever works, right? In a lot of ways if there are huge problems then maybe the producers will cough up the money for the proper equipment (less than likely, but you never know). |
He shouldn't use a cart because it will be in the way, and it invites the use of unsuitable gear. He needs to be able to follow action and be light on his feet. If they are editing in FCP and can use a clap slate then TC is mostly not really relevant if they keep the recording under 4 tracks. Load them all in, sync them to the clap. OMF them out after the cut to the audio posties. Keep the gear small and simple because there will be PLENTY of other problems to deal with on the set, and his learning curve on a more complex system will slow the shoot down and make for bad audio. A computer recording system without a good external clock will not keep good sync for a long take in any case. Instead of fussing w/ software he should be watching rehearsals (if they do rehearsals), how the lighting and camera moves are coming together and planning the boom mic movements around them. In many low-budg situations like this the camera itself becomes the audio recorder--not great but it happens every day. Then he really needs to pay attention to camera movement, and monitor the return from the camera audio. Most of all he needs to get with the producers and the editorial people right away and see what their expectations are and how they can realistically accomplish what is being asked for.
Philip Perkins