Syncing HVX200 and a Sounddevice?

H

hvx_germanboy

Well-known member
Ok,

i am looking for a way to sync the sounddevice with the TC of the HVX-anyone did this before?

And i am also curious, if this would work, if there would be the same effects of offset when switching of the HVX...?? :dankk2:
 
AbstracTheory said:
It's just a coincidence that TASCAM makes a portable recorder with the model number HD-P2... It's a high definition portable recorder that you can totally sync with your timecode via firewire... This device is awesome... Check it out: http://www.tascam.com/Products/hdp2.html
Click to expand...

What???? Not true at all. The P2's timecode is jammable from an external source however, getting timecode out of the hvx's firewire is the problem. The camera like the DVX is not jammable either. Very timecode unfriendly.

Calling the HD-P2 "high definition" is marketing only.

There are two methods, program the hvx to get its timecode close to match the SD recorder or whatever masterclock you use or have a lockit box like ambient record timecode to channel 2 audio input.
 
Yeah, there's not such thing as "high definition audio". That ad is a joke. That device offers nothing that hasn't been offered on portable professional devices before. Same old crap, new wrapping.
 
The "HD Audio" is most likely a take-off of a new marketing term for higher sampling radio which they are calling HD Radio. Everything now is HD. I expect MS to get on the bandwagon and release Office HD, Vista HD. Home Depot will be next with PowerTools HD

Ned
 
Right, I'm waiting for the HD Hummer, saints preserve us...

And the higher sample and bit rates have been around in professional recording studios for many, many, many years.

Next up, Vicotorias Secret markets HD thongs...
 
Dean Wuhl said:
There are two methods, program the hvx to get its timecode close to match the SD recorder or whatever masterclock you use or have a lockit box like ambient record timecode to channel 2 audio input.
Click to expand...

Hi Dean, the funny thing is that we used a ambien LTC for two weeks now on the 2nd audio input.

The problem is to read out the TC in post: avid has done some bullshit in the last two updates (at least on adrenaline 2.5/2.6 where we tested it) , so that it cant read out the TC of the Audio anymore...id love to hear a second opinion on this, but this is what i saw at the post house..and they said this is also inofficial-official avid message now...!

I am mostly working with Edius these days and very happy with it, the only problem is that this software cant read the lockit timecode from the HVX as well.. (has nothing to do with the hvx, but the LTC)

So i am really wondering how to solve this problem for future projects, as i am doing a lot of doc-film, where you cant go directly to cam with the sound...!??

Would be great if someone had a solution for that, maybe a third party software..damn i would pay for it if it made edius read out the ambient timecode..!

I am doing also a research if FCP can handle the TC and do a "auto-snap" to syncronize..!?-The problem is that the director of the doc i m assiting right now is beating my ass, cause they will have to syncronize by hand 50 hours of interviews in post...outch!

Thats not really my fault, but it hurts anyway..!

p.s. damn i got trapped by the tascam comercial..i bought i half a year ago..aynway, i never was attracted by the "HD", but its a good device anyway..only thing i am missing is XLR-out, for the cases where you wanna go to the cam directly...thats why lockit is so important to us..!

HEEELP!
 
I'm using Avid v2.6.2 and I can read timecode from an audio track fine. We have a client who does music videos. He uses pro tools for playback and has an audio track in pro tools with timecode on it. He sends that timecode out to the camera(s) and they record it onto 1 track. We use that timecode (from the camera) to quickly sync back up to the recorded audio from pro tools.

Works everytime for us.
 
Yeah, there's not such thing as "high definition audio". That ad is a joke. That device offers nothing that hasn't been offered on portable professional devices before. Same old crap, new wrapping.
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Click to expand...

I'm a long time professional sound guy (in recording studios, not film shoots, and almost entirely for music). Digidesign's Pro Tools multichannel audio hardware/software has been for some time the audio industry leader (it's the default medium in virtually *every* pro recording studio). Originally the Pro Tools systems were strictly 16 bit, 44.1 KHz sampling rate (like CDs), or 16/48 like our HVXs. In the late 90s they upped it to 24 bit, and about 5 years ago they introduced what they call their "HD" systems, which are still 24 bit, but have additional sampling rates of 88.2/96 and 176.4/192 KHz. Arguably "high definition" isn't altogether a misnomer for these systems because, like HD video, they achieve better quality through multiplication of data rates. A 24 bit 192 KHz audio file consumes 6 times the drive space of a 16/48 file of the same length.

On the other hand, audio and video don't really play by the same rules, and in theory a 16 bit 44.1 KHz audio stream is capable of virtually perfect audio reproduction (google "Nyquist theory" for a more complete explanation), and state of the art systems with exotic A/D-D/A converters can pretty much prove that point. However, with less than ideal hardware in particular, upping the data rate can decidedly improve the sound quality. A Pro Tools HD system sounds very noticeably better than an older Digidesign "Mix" system (its 24/48 predecessor).

But HD video is another matter, and the horizons are much further away quality-wise. With 35 mm film as the standard by which others are measured, only high end HD cameras are truly competitive (and even that debate isn't over). Low end HD cameras like our HVXs are distinctly below that quality level, even though they in fact are "HD". Also, the range of difference between standard def TV and HDTV is much more noticeable to the average consumer than the corresponding audio comparison. This is one (of the several) reasons why DVD-A and SACD music releases have been selling pretty much like used chewing gum.

So there's a difference in the meaning of the term HD in video and audio, but the pro audio industry has embraced the term irrevocably, and it will serve pro video guys (and gals) well to at least know what they're referring to.

Hope this is useful info...
 
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Yes,
clapboard is a way, but no way for documentaries..(well maybe some, but not for most of them..!).

I am wondering that "carlone" has no problems to sync stuff in his avid version, maybe its due to the adrenaline, or it was just the posthouse, but they couldnt make it run...id like to upload you a sample to try it on your own, cant do this now, but probably tomorrow, would be great if you could test it!(ill pm you when its up..!)

It will be a .BWF file (24bit) and a p2 folder, that has th lockit information on the 2nd track, i am curious hiw this will work..!!)

We will talk to other posthouses next week, but this experience wasnt that nice..the problem is that there will be 6 more weeks of shooting, with the HDW 900, but the sound guy is annoyed, as he wanted to use the same ambient lockit, but unsure now if this would still mean the same trouble in avid...so your help would be great, as i am not deep into avid world!
 
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