External recorder for double system with SLRs

Another newbie question is, how do you sync video and audio on the NLE assuming your recorder has timecode? (like the Tascam P2)

Can you do that with a camera like the HVX200 or any similar camera?

How does the NLE "link" the video with the audio?
 
Thomas Church said:
Another newbie question is, how do you sync video and audio on the NLE assuming your recorder has timecode? (like the Tascam P2)

Can you do that with a camera like the HVX200 or any similar camera?

How does the NLE "link" the video with the audio?
Click to expand...

Timecode with the audio is only part of the picture. You must have identical timecode on the video, which means the video camera must have a timecode ouput connection. That is then connected to the recorder timecode input so the video and audio timecodes are identical. The audio file is in the Broadcast Wave format, which means it has the reading on the timecode clock at the instant of the first audio sample embedded in the file header. When you add the video to your NLE timeline, the timeline is adjusted so it is aligned with the video timecode. Then when the audio file is added, the NLE reads its timestamp and places the first audio sample so as to align its timestamp to the same number on NLE timeline counter. But if your camera doesn't have a timecode output feed, none of this means anything. The other way to do it, for cameras that don't have timecode output, is to use a smartslate as the timecode generator. It feeds to recorder timecode input so the recorder's timecode is identical to the slate's number display. The slate is photographed at the start of the scene. In the NLE, after adding the video file to the timeline, the frame with the slate is located and the timeline slipped to sync its numbers to those on the slate. Then when the audio file is added, it's aligned to the NLW timeline based on its enbedded timestamp. Voila! - audio and video are in sync.

Note that in a file-based workflow, timecode only establishes a single point position reference and doesn't convery any information about playback speed. As a result, long'ish takes can drift out of sync over their duration.
 
Steve House said:
The other way to do it, for cameras that don't have timecode output, is to use a smartslate as the timecode generator. It feeds to recorder timecode input so the recorder's timecode is identical to the slate's number display.
Click to expand...

Good post Steve, only thing I wanted to mention is usually you don't use the slate as the master generator. Usually your recorder will be the master, you jam the slate (which has its own generator) and when you disconnect
the slate will continue with the same code as the recorder.
Using the recorder to set up the hour/min and user bits..etc is way easier to do than trying to create that info on a slate.

Of course you could use a slate as a master generator but overall its better do it the other way for numerous reasons.
 
The 680 is very nice, and yes, it does support project/scene/take filenaming. I use a PSC Alphamix in front of it.

Understand that while the 680 is an 8 track machine, it is really a 6 track machine with an additional two tracks that can record a mix of the first 6.

There are 4 XLR inputs, 2 1/4" TRS inputs, and 6 preamps. The preamps are quite nice, but I have a bit more control using the Alphamix in front of it, and use the channel direct outs to feed the 680's 1st 4 inputs and feed the 2 TRS inputs from my mixer's main L/R outs. To take advantage of the multi-tracking capability when used with a mixer, the mixer has to have the capability to send the individual inputs directly out to the recorder, thereby creating ISO tracks of each input.

Thomas Church said:
Someone mentioned the Tascam 680, I think it looks nice, and it's within my budget.

How good is it?

Does it also accept scene, shot, take info, etc?

It seems like a device that's more future proof, with 8 tracks and all.

Is it still recommended to get the Sound Devices Mix-Pre if I'm using the 680? How good are the 680's preamps?

I'm asking these questions because I own a small production company that does a lot of low budget/no budget stuff, and it ends up being better for me to own my own gear.

And audio gear usually lasts a lot longer than any camera.
Click to expand...
 
mixpre has only 2 ins and 2 outs. so you could use the mix pre for its pre amps and use the faders to ride it and then use line level output devices to feed your other channels(like wireless or battery powered mics, etc..). but the issue with the 680 is that there isn't a fader dedicated for each channel. its one fader and 6 buttons where you choose which one the master fader affects, thus the need for a mixer in front of it that has ISO outputs. the PSC promix 6 would be a cheap solution and PSC can do a mod so the ISO's are post fader. lot of options and really depends on what you need.
 
Thanks, Mangler.

Just a note, I prefer to run my iso tracks pre-fader, post trim and also grab the 2 channel mix out of my mixer for dailies. That may be because on my alphamix, each channel has a 3 led level meter that allows me to monitor the input condition of the channel, and the gain control for each channel allows me to trim that channel and control how hot a signal is before hitting the iso track, and the channel fader. My goal with the iso tracks is to get the cleanest signal without clipping and worry about mix levels in post.

manglerBMX said:
mixpre has only 2 ins and 2 outs. so you could use the mix pre for its pre amps and use the faders to ride it and then use line level output devices to feed your other channels(like wireless or battery powered mics, etc..). but the issue with the 680 is that there isn't a fader dedicated for each channel. its one fader and 6 buttons where you choose which one the master fader affects, thus the need for a mixer in front of it that has ISO outputs. the PSC promix 6 would be a cheap solution and PSC can do a mod so the ISO's are post fader. lot of options and really depends on what you need.
Click to expand...
 
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