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Anyone had harddisc experiences in post? DAW Software
Old 17th August 2007
  #1
Here for the gear
 

Anyone had harddisc experiences in post?

We have just got a show in recording bands and judges to 2x Fostex DV 824 dvd ram hard disk. I was wondering if anyone has had experiences with these recorders once in Post Production?? They will be recording 16 tracks for 5 hours of band performances per day. I would of thought it would be best to sync the recordings at the digitizing stage with our rushes so the editor would cut with all the audio. But this would mean a lot of tracklaying to each rushes clip (time of day timecode) so maybe it would be better conforming once the edit is locked off. This however will also take a long time to tracklay as we would have to find the right hard disc roll find it's source timecode and then tracklay it in but for EVERY edit point!!

Just want to know how other people have done it or any forums which may help. Is there a fancy bit if software where it will autoconform a final edit?

Thanks for your time

Tom
Old 17th August 2007
  #2
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Quote:
Originally Posted by tomjoyce View Post
We have just got a show in recording bands and judges to 2x Fostex DV 824 dvd ram hard disk. I was wondering if anyone has had experiences with these recorders once in Post Production?? They will be recording 16 tracks for 5 hours of band performances per day. I would of thought it would be best to sync the recordings at the digitizing stage with our rushes so the editor would cut with all the audio. But this would mean a lot of tracklaying to each rushes clip (time of day timecode) so maybe it would be better conforming once the edit is locked off. This however will also take a long time to tracklay as we would have to find the right hard disc roll find it's source timecode and then tracklay it in but for EVERY edit point!!

Just want to know how other people have done it or any forums which may help. Is there a fancy bit if software where it will autoconform a final edit?

Thanks for your time

Tom
Recommend that you record a scratch stereo mix w/ the same TC for the pix editors, that they can sync up themselves or, better, send this mix to one or more video cameras or decks so they have it already. All recorders should share the same clock and TC. There are various methods for conforming the audio to the cut, although for music we usually make a hero version of the song first and edit pix to that. Many ways to skin the cat, esp if there are multiple takes of each song to choose from. If the takes are song length then the conform would be easy enough to do manually. If it is more gnarly there are various options like Editrace, Titan, Conformalizer, Virtual Katy etc that you can look into.

Philip Perkins
Old 18th August 2007
  #3
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Geert van den Berg's Avatar
 

Done something similar once. Do as Philip suggested.

Definately make sure all devices follow the same timecode while recording! This makes editting later on so much easier.

In our situation the audio recorders were let run free but with tc recorded on an audio track. (for stability purposes). Then later on this had to be recorded on another DAW to the exact time location. A total pain in the ... (And unnecessary because there were also backup audio recorders running.) We then editted the multitracks according to an EDL from the video editor. (with a quicktime video of the editted picture, which unfortunately wasn't completely locked yet, make sure you edit after the pic is locked!!!)

You can also mix the songs first and then do the edits, but sometimes it is neater to do crossfades on the multitrack with seperate elements.

Make sure you also got a synced up version of the stereo mix the video editors is using and you can then easily sync up your mixes (or multitrack) with that, just nudge them into phase.

All assuming you are using a computer DAW to mix with. If not you could still use some conforming software, but that would only work well with a stereo (or 5.1) mix, because most video editting software is not capable of doing radical audio editting and mixing. (and your audio will need to be at the right timecode as well, just to point that out again)
Old 20th August 2007
  #4
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Quote:
Originally Posted by philper View Post
Recommend that you record a scratch stereo mix w/ the same TC for the pix editors, that they can sync up themselves or, better, send this mix to one or more video cameras or decks so they have it already. All recorders should share the same clock and TC. There are various methods for conforming the audio to the cut, although for music we usually make a hero version of the song first and edit pix to that. Many ways to skin the cat, esp if there are multiple takes of each song to choose from. If the takes are song length then the conform would be easy enough to do manually. If it is more gnarly there are various options like Editrace, Titan, Conformalizer, Virtual Katy etc that you can look into.

Philip Perkins
Quote:
Originally Posted by Geert van den Berg View Post
Done something similar once. Do as Philip suggested.

Definately make sure all devices follow the same timecode while recording! This makes editting later on so much easier.

In our situation the audio recorders were let run free but with tc recorded on an audio track. (for stability purposes). Then later on this had to be recorded on another DAW to the exact time location. A total pain in the ... (And unnecessary because there were also backup audio recorders running.) We then editted the multitracks according to an EDL from the video editor. (with a quicktime video of the editted picture, which unfortunately wasn't completely locked yet, make sure you edit after the pic is locked!!!)

You can also mix the songs first and then do the edits, but sometimes it is neater to do crossfades on the multitrack with seperate elements.

Make sure you also got a synced up version of the stereo mix the video editors is using and you can then easily sync up your mixes (or multitrack) with that, just nudge them into phase.

All assuming you are using a computer DAW to mix with. If not you could still use some conforming software, but that would only work well with a stereo (or 5.1) mix, because most video editting software is not capable of doing radical audio editting and mixing. (and your audio will need to be at the right timecode as well, just to point that out again)
Thanks to you both for your replies, very useful. they will be synced up to a house sync with time of day timecode. they will also have a stereo feed from the desk as a guide to edit with on the wide shot. i think we have decided to cut in the 16tracks into the rushes bin so when it gets to me, all the elements will be there. this is due to the quick turn around from the final offline to the transmission date. While on the subject...i come from a post production background and have little music mixing experience. the sound supervisor on location is very good and will be supplying me with stereo drums, guitars, keys, stereo audience, vox isolated. do you have any tips on mixing the music from eq, gates, compressors baring in mind i am mixing in pro tools hd. thank for your time

t
Old 20th August 2007
  #5
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Quote:
Originally Posted by tomjoyce View Post
Thanks to you both for your replies, very useful. they will be synced up to a house sync with time of day timecode. they will also have a stereo feed from the desk as a guide to edit with on the wide shot. i think we have decided to cut in the 16tracks into the rushes bin so when it gets to me, all the elements will be there. this is due to the quick turn around from the final offline to the transmission date. While on the subject...i come from a post production background and have little music mixing experience. the sound supervisor on location is very good and will be supplying me with stereo drums, guitars, keys, stereo audience, vox isolated. do you have any tips on mixing the music from eq, gates, compressors baring in mind i am mixing in pro tools hd. thank for your time

t
They are doing a lot of submixing before it gets to you, so hopefully they are taking care of some of the dynamics control (but not too much). Otherwise, do what sounds good. If the Hi Hat is keeping you from bringing the rest of the kit up to a balanced level, then compress it. If the vocalist is on and off mic, ditto. Can you hear everyone in the band the way you think you'd hear them live? If not then go to work w levelling, EQ etc.. It's really about taste and experience listening dispassionately. Hopefully the musicians will not be there when you mix their music for the show....

Philip Perkins
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