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0VU · 19th February 2006

In the absence of central T/C and video/black and burst ref generators, my preferred method is to take feeds from the vidiots of SMPTE/EBU timecode and video and use these to sync the multitrack.

Afaik, an HD24 won't directly input or output SMPTE timecode - it speaks MTC (at least the HD24XR does) so if I'm using HD24/XR, I use a SMPTE-MTC converter, (usually a MOTU MTP/AV) to convert the code and provide sync for the multitrack. THe MTP is first sync'ed the incoming timecode and video. As long as the SMPTE and video sync are maintained all through the mixing, mastering and editing chain, things should stay tight to picture.

I agree with John that on a shoot like yours it's probably easier to make sound the T/C and sync master and distribute it to the cameras/video recorders. I found that when I started doing any real quantity of sound for picture work, it was so much easier to get my own T/C and sync generators and supply the feeds to the video side that it was worth the money to do it (and having the facility actually got me work as it meant one less thing for the vidiots to worry about).

If the cameras are all recoding iso, with no sync or central control/monitoring, you could try using a timecode slate to get reasonable sync at least at the start of the shoot. Drive the slate from your timecode source and get all the cameras to look at it at the start of the shoot. If they can be persuaded to do this at intervals during the shott it might help with any drift as the shoot progresses. It's far from ideal but I've workd to this system several times and it's ok as long as the post guys keep an eye on things. If you're working to film cameras it's about the only easy way that I know of to do it.

19th February 2006	#17
0VU Gear maniac Joined: Jan 2004 Posts: 284	In the absence of central T/C and video/black and burst ref generators, my preferred method is to take feeds from the vidiots of SMPTE/EBU timecode and video and use these to sync the multitrack. Afaik, an HD24 won't directly input or output SMPTE timecode - it speaks MTC (at least the HD24XR does) so if I'm using HD24/XR, I use a SMPTE-MTC converter, (usually a MOTU MTP/AV) to convert the code and provide sync for the multitrack. THe MTP is first sync'ed the incoming timecode and video. As long as the SMPTE and video sync are maintained all through the mixing, mastering and editing chain, things should stay tight to picture. I agree with John that on a shoot like yours it's probably easier to make sound the T/C and sync master and distribute it to the cameras/video recorders. I found that when I started doing any real quantity of sound for picture work, it was so much easier to get my own T/C and sync generators and supply the feeds to the video side that it was worth the money to do it (and having the facility actually got me work as it meant one less thing for the vidiots to worry about). If the cameras are all recoding iso, with no sync or central control/monitoring, you could try using a timecode slate to get reasonable sync at least at the start of the shoot. Drive the slate from your timecode source and get all the cameras to look at it at the start of the shoot. If they can be persuaded to do this at intervals during the shott it might help with any drift as the shoot progresses. It's far from ideal but I've workd to this system several times and it's ok as long as the post guys keep an eye on things. If you're working to film cameras it's about the only easy way that I know of to do it.