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How many of you lock a video recording of your event to "watch " while mixing? Test Equipment
Old 15th December 2002
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Steve Smith's Avatar

Thread Starter
How many of you lock a video recording of your event to "watch " while mixing?

I have not done this unless the show was also going to video, but it is a way cool tool while mixing.. Anyone doing it regularily?
Old 15th December 2002
Super Moderator
Remoteness's Avatar
Lately, it's my favorite way to record when I'm hired to do the mix.

The process isn't as important when you're only tracking, and the music mixer doesn't need to view picture while mixing.

For me, it's like viewing the band from behind the control room glass or at the Monitor or FOH position. You're right there.

If an external video feed is not available, we use our Canon PTZ camera(s). We set up a rack exclusively for it. We record mix stems to a DA98HR, locked to a DVCAM. A TC generator/reader, TC video insert burner and a SR15 Distripalyzer completes the portable package at the moment.
Old 29th December 2002
Gear maniac

I've mixed a bunch of live Gospel Albums while watching the video playback, which, I THINK were usually the final edited versions, or from feeds that were switched live, without any ISO cams, to the "Master" video.

I've done a lot of them, and I can't be certain which ones were which, since the budgets are usually very small, and the mixes are done so quickly, but MOST WERE final video edits, and I mixed to those.

When I DID know it was the 'Final Cut' video, no matter if they were switched live, or ISO edited picture, the fun part was always kicking up the instrument seen on cam a dB, or so, to sync with the video, as corny as that seems.

The only real drag was the "Chase" and "Lock Up" times, when doing things totally linear, using tape, (audio and/or video, no hard disc stuff used), especailly when dealing with any console automation trims, updates, etc....

BUT, I'm an Analogue guy at heart, so it's all good!!

I've also done live mixes to broadcast, straight from the console to "Air", with a multi (24) track, and the stereo audio on the video deck as backup/archive, which is REALLY fun and challanging!!

A fixed wide shot is REAL helpful, especially if you've never heard or seen the band before, but I usually would get the 'On Air' feed, and just be playing the console, like I used to mix 'Records', in the *Good Old Days*!!
Old 29th December 2002
I persuaded a film / video chum who gave me an "in concert" video mix job, to let me mix it 'to picture'. Perhaps it was a mixture of his kindness & inexperience that made him agree.

I used a large SSL and we mixed down direct to the 1inch 'video' (probably defunct now as a format??) and MCI 1/4 with center track timecode for a safety.. We took 6 VERY long days to do it.

Kooster recorded it . The band was called Big Country - the gig was in NYC.

No 'cheat' / fixer overdubs - all live..

We augmented the audience tracks a little with louder clapping sections from the gig when needed..

I co-mixed it with their live sound guy (a semi nightmare for both of us)

I mixed it at Videosonics, London. Owned by Dennis Weinrech a true gent and fellow American in London plus a very experienced producer engineer (Jeff Beck, Supertramp, Lenny Kravitz) and valve mic collector.

We hit trouble from the start - with sync. (to do with the film to video 'tele-cine' transfer done in the UK) The great tech team at Videosonics were able to fix it but not without considerable time and effort, we lost almost 2 days at the start. In the end we had to 'Jam Sync" new re-striped SMPTE while watching an oscilloscope and hand vary the tape speed to keep the sync perfect (the oscilloscope warned us of drift direction, slow or fast) It was a scary time for all.

Teething troubles aside, mixing to the picture was VERY ENJOYABLE INDEED but probably a totally unnecessary luxury. It was a massive 'ego buzz' for me, a simple rock n roll engineer unused to such luxury. Pressing go on not just the master tapes of quite a famous UK act but seeing the video as well on a giant monitor was super cool.

Being no slouch in the self promotion dept - I used the event to get myself a 4 page spread in the UK studio mag Studio Sound, pictures 'n all...

I took my Mom to the 'premier' and we both enjoyed my first ever 'rolling credit'.

I dont expect to ever do it again..

Old 29th December 2002
Gear maniac


Hey Jules!!

How's your new joint (NOT ) working out? heh
Old 10th January 2003
All is well!

Old 6th January 2016
Gear Addict
Syphax's Avatar

It would be cool if some of you (or any of you) posted the film recordings which have been mentioned in this thread...
Old 6th January 2016
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Bruce Watson's Avatar

Originally Posted by Syphax View Post
It would be cool if some of you (or any of you) posted the film recordings which have been mentioned in this thread...
From 13 years ago?
Old 7th January 2016
Gear Addict
Syphax's Avatar

Originally Posted by Bruce Watson View Post
From 13 years ago?
Yes. I am assuming nobody has archived any footage? Nevermind then.
Old 7th January 2016
Super Moderator
Remoteness's Avatar
I cannot speak for every one in this discussion, but our workflow has changed dramatically at Aura-Sonic.

Fourteen or so years ago, we used a switched video feed or our Canon PTZ camera which is exactly how we do it as of late. What has changed is how we capture the video feed. Today we use a pair of Video Devices PIX270i recorders.
They are a great way to record 64 tracks of audio and video.

We usually run the left PIX270i as a Sound Devices 970 (without video) and the right one gets the switched feed along with (up to) 64 channels of audio via a combination of MADI, Dante, AES or analog. On video shoots we may run them both as PIX270i video decks.

For your review, please find a picture of our 20u Record Rack.

Originally Posted by Syphax View Post
Yes. I am assuming nobody has archived any footage? Nevermind then.
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How many of you lock a video recording of your event to "watch " while mixing?-05_-closeup-view-20u-record-rack..jpg  
Old 7th January 2016
Lives for gear

Pocket battleship! (I like having video a lot at a mix.)
Old 8th January 2016
Gear Maniac

Hi Steve, As you are recording video on the PIX270s as well as audio, you have to record audio as a poly wav. For 64 channels that would mean quite a few file breaks if you let the recorder break files at 4GB, or do you turn that function off. How are the Poly Wav files accepted by your clients? I'm looking at adding one of these to my SD970s for just this reason.
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