rec.arts.movies.production.sound

On Oct 4, 7:12 pm, osa < ...@ > wrote:
> i have a client who wants 4 tracks on an upcoming job, 2 on the camera
> and 2 on a tascam hd-p2. naturally i would suggest a 744t but this is
> their request. i just want to make sure i have sync right so
> everything will be locked and clocked together. if i do genlock out on
> cam -> wordclock in on tascam, and timecode out on cam -> timecode in
> on tascam, and all timecode settings jive, will this give me proper
> sync for the client to edit with the audio in an avid? i can run a
> test with this rig but before i do i want to make sure i am on the
> right track. this will be short segments for the most part, not a live
> concert or anything lengthy.
>
> kp

I've done this and it works fine, with a few caveats. First--what
camera are you shooting with? I assume you'll be taking TC from the
camera and recording it on yr. P2, but remember that the TC ouput by
Panasonic cameras while recording is several frames advanced from that
which is recorded with a given frame of video. This is due to picture
processing delays. In DVCPro50, for example, the delay is about 4
frames. So right away the editor will have to pull up by 4 frames to
get your file to sync. Another issue I had was with Final Cut, and
how it digitizes from tape. Basically what can happen is that in some
situations FCP will start to digitize, and the not "see" small breaks
in the camera TC and keep rolling, with the TC now out of sync with
the master. For FCP this doesn't matter unless they want to go back
to the master video tapes to up-rez, but they are now out of sync w/
yr files. So....a clap slate is a very good idea, w/ good notes. I
would recommend that you take TC hardwired or wireless from the camera
and set the P2 up to both record and clock itself to that TC--that way
you only have one extra cable involved. I have done this a great deal
and it has worked well for me.

Philip Perkins