I will recording an upcoming concert which is being shot with 5-7 DVX-100
cameras free roaming. I will be recording 32 tracks of audio on Sony PCM-800
recorders and I am planning on sending 29.97nd timecode on Lectrosonics
T1/R1 wireless to the all cameras to be recorded on audio track 2. I will
leave the camera mics on channel 1 for a reference track for editorial.

Does anyone have any additional ides or does this seem a logical way to do
buisness?

Brad Harper

I will recording an upcoming concert which is being shot with 5-7 DVX-100
cameras free roaming. I will be recording 32 tracks of audio on Sony PCM-800
recorders and I am planning on sending 29.97nd timecode on Lectrosonics
T1/R1 wireless to the all cameras to be recorded on audio track 2. I will
leave the camera mics on channel 1 for a reference track for editorial.

Does anyone have any additional ides or does this seem a logical way to do
buisness?

Brad Harper

I will recording an upcoming concert which is being shot with 5-7 DVX-100
cameras free roaming. I will be recording 32 tracks of audio on Sony
PCM-800
recorders and I am planning on sending 29.97nd timecode on Lectrosonics
T1/R1 wireless to the all cameras to be recorded on audio track 2. I will
leave the camera mics on channel 1 for a reference track for editorial.

Does anyone have any additional ides or does this seem a logical way to do
buisness?

Brad Harper

"Brad Harper" <bradharper@comcast.net> wrote in message
news:ZVQpc.60918$536.10294544@attbi_s03...
I will recording an upcoming concert which is being shot with 5-7 DVX-100
cameras free roaming. I will be recording 32 tracks of audio on Sony
PCM-800
recorders and I am planning on sending 29.97nd timecode on Lectrosonics
T1/R1 wireless to the all cameras to be recorded on audio track 2. I will
leave the camera mics on channel 1 for a reference track for editorial.

Does anyone have any additional ides or does this seem a logical way to do
buisness?

Brad Harper


I did a six camera concert for DVD with the DVX-100's and 24 tracks of
DA-78HR. No timecode used whatsoever, most of the camera operators missed
the common mark at the head and they all had camera mics on. It was edited
in Sony Vegas 4 and once the editor got the video tracks lined up by
waveform and ear they held sync without much issue for the full project.
Cameras kept sync with each other near perfectly, and the audio was long by
about 5 or 6 frames by the end of the average tune length of maybe 7 or 8
minutes. He simply dragged the audio timeline at the end to match the video
and did not pitch correct. All in all, he says it was easier than dealing
with timecode and certainly made my life simple.

"Charles Tomaras" <tomaras@tomaras.com> wrote in message
news:<IcCdndXm1ftXyTXdRVn-sw@comcast.com>...
"Brad Harper" <bradharper@comcast.net> wrote in message
news:ZVQpc.60918$536.10294544@attbi_s03...
I will recording an upcoming concert which is being shot with 5-7
DVX-100
cameras free roaming. I will be recording 32 tracks of audio on Sony
PCM-800
recorders and I am planning on sending 29.97nd timecode on
Lectrosonics
T1/R1 wireless to the all cameras to be recorded on audio track 2. I
will
leave the camera mics on channel 1 for a reference track for
editorial.

Does anyone have any additional ides or does this seem a logical way
to do
buisness?

Brad Harper


I did a six camera concert for DVD with the DVX-100's and 24 tracks of
DA-78HR. No timecode used whatsoever, most of the camera operators
missed
the common mark at the head and they all had camera mics on. It was
edited
in Sony Vegas 4 and once the editor got the video tracks lined up by
waveform and ear they held sync without much issue for the full project.
Cameras kept sync with each other near perfectly, and the audio was long
by
about 5 or 6 frames by the end of the average tune length of maybe 7 or
8
minutes. He simply dragged the audio timeline at the end to match the
video
and did not pitch correct. All in all, he says it was easier than
dealing
with timecode and certainly made my life simple.

In reading Charles' post I think I would consider this approach in
lieu of the TC suggestions I made, if for no reason other than the
whole DV world is kind of timecode unfriendly, both FCP and the
cameras. Even when I've had full TC/genlock setups for multicam
shooting in concerts, I've had to mess with the sync in post to get it
to look right anyway, esp. on long lens shots. My only addition to
Charles' post would be to get the camera operators to stop tape as
seldom as possible--fewer resyncs. Oh, and have the editor get
Really Big drives!

Philip Perkins

just a question, if someone tried synchronize the cameras and da78 or pcm
800 with ext video reference during the recording for stopping the drift?

the dvx 100 doesn't have ext video ref but maybe it works threw the video
input like some recorders players (mostly old vhs) which was synchronized
for TV shooting ( video out from the camera to video in on the player
during pb)

"Oleg Kaizerman" <kaizero removeit@netvision.net.il> wrote in message
news:2gs4ciF63sc9U1@uni-berlin.de...

just a question, if someone tried synchronize the cameras and da78 or
pcm
800 with ext video reference during the recording for stopping the
drift?

the dvx 100 doesn't have ext video ref but maybe it works threw the
video
input like some recorders players (mostly old vhs) which was
synchronized
for TV shooting ( video out from the camera to video in on the player
during pb)



In my situation the cameras were not monitored by anyone other than the
operator so there would have been no way to distribute the sync in the
first place as there weren't any wires being run.

you say that the cameras stayed in perfect sync and only the da was
swimming
few frames every few minutes , so if you supply camera video signal as
(one
camera)
as reference signal to the da ,is it will lock it to the camera and it
will
not drift ?