Time Code and playback on Music Video set

[Jasiex]

Message:
Hello!
I want to understand a playback on set, to be more accurate: TIMECODE. Let's say that they are making a music video with playback. Before the actual sound starts rolling there's 4 beeps. And I want to know for what are the beeps being using for and where should be placed ( before actual song or in the middle) ?

Thank You

 

[Noiz2]

First off this has nothing to do with Time Code.

Those would be either sync beeps or more likely count in beeps. Count in beeps are used for Foley and ADR. It kind of depends on where you are though. Some places use the beeps some use a screen wipe and others use both. They should be set up (I've usually seen three not four) so that action start is when the next beep would start. They are usually 1 sec apart. So in that case you would put the start of the last beep 1 sec before the start of action. They are to let the actors know when the start is so they don't stumble at the start.

If they were sync beeps they would be for syncing up the takes in post. That is possible if they are not playing the same mix for each take, which might make it difficult to sync takes in post.

 

[Alex H.]

First off this has nothing to do with Time Code.

Those would be either sync beeps or more likely count in beeps. Count in beeps are used for Foley and ADR.

As the original question cited production of a music video, in that instance are the tone pops not a metronome/click-track count-in for the performer to pick up on the next measure?

 

[morgan_moore]

If you shoot with a bunch of non TC cameras then the beeps help you synch the footage using audio wave form in the NLE

I get them put at the front of the track and also get other versions of the track with beeps at 'important points' to save time if you want to do a few more takes of just a chorus or suchlike.

S

 

[Alex H.]

If you shoot with a bunch of non TC cameras then the beeps help you synch the footage using audio wave form in the NLE

I get them put at the front of the track and also get other versions of the track with beeps at 'important points' to save time if you want to do a few more takes of just a chorus or suchlike.

This, but it is very helpful that the sync beeps are timed to the tempo of the song. This counts the performers in so that they can begin on-tempo. It's also important to go through in prepro after you've story-boarded and figure out where you might need certain segments of the song. Prep those segments to come in on the downbeat following the same count-in. Record audio in-camera for reference in post (which, nowadays, is much more useful for non-TC sync in post than are the count-in pops).

 

[Jasiex]

This, but it is very helpful that the sync beeps are timed to the tempo of the song. This counts the performers in so that they can begin on-tempo. It's also important to go through in prepro after you've story-boarded and figure out where you might need certain segments of the song. Prep those segments to come in on the downbeat following the same count-in. Record audio in-camera for reference in post (which, nowadays, is much more useful for non-TC sync in post than are the count-in pops).

I mean 35mm film cameras

 

[Alex H.]

I mean 35mm film cameras

Then they're likely using TC sync between the playback and the camera. The series of tone pops still has nothing to do with the TC and is still a count-in for the performer(s).

But how many music videos are shot on 35mm, especially these days?

 

[Jasiex]

Then they're likely using TC sync between the playback and the camera. The series of tone pops still has nothing to do with the TC and is still a count-in for the performer(s).

But how many music videos are shot on 35mm, especially these days?

Sadly, not many. That's why music videos from '90s and early '00 looked cinematic and better than nowadays.

 

[Noiz2]

I mean 35mm film cameras

Then it doesn't make sense since 35mm film does not record sound so the beeps will not be on the film.

It's possible that the beeps would be tempo beats but nobody is playing or actually singing in a music video so? But three beeps are standard for ADR and Foley and four is what one usually gets with tempo beats so you are probably right. In that case both things are happening, it's just that your count in is in tempo rather than at 1 sec increments.

 

[Jasiex]

Then it doesn't make sense since 35mm film does not record sound so the beeps will not be on the film.

It's possible that the beeps would be tempo beats but nobody is playing or actually singing in a music video so? But three beeps are standard for ADR and Foley and four is what one usually gets with tempo beats so you are probably right. In that case both things are happening, it's just that your count in is in tempo rather than at 1 sec increments.

Thank you for reply.


But let me ask one thing: I saw somewhere that the beeps are before actual song and before the lyrics of it too. How it is done with a time code i mean the beeps before the lyrics part?

 

[Alex H.]

It's possible that the beeps would be tempo beats but nobody is playing or actually singing in a music video so?.

Except for when they are. Well, at least lip-sync and pantomime. For the narrative elements there need not be playback, but for the singer and musicians to be playing along, a count-in is needed.

 

[Alex H.]

But let me ask one thing: I saw somewhere that the beeps are before actual song and before the lyrics of it too. How it is done with a time code i mean the beeps before the lyrics part?

This is not done with TC. It has nothing to do with TC.

You'll need someone to prep the song ahead of time, especially if there are segments to be sliced out and used separately from the entire track. This can be done in any DAW (ProTools, Cubase, etc.) using a tone generator or a click track. It needs to be matched to the BPM and key signature of the song. These pieces, both the entire song and the segments, are then exported as complete sound files and used for playback on set/location.

Unless you have someone on set or on location with you who has the DAW on a laptop, in which case these pieces can be played directly from the DAW's timeline.

 

[Noiz2]

I'm not sure what you are asking.

What it sounds like you are asking is how would you use TC to trigger the beeps.?

For the music video I would probably add them to the playback file and not trigger them at all.

For ADR and Foley you can get boxes that you can get $$$ that you can send a trigger signal to and they will do beeps and or a video wipe. The ones that trigger strictly off of TC are very pricey and you would probably have to find one used since I doubt that any are still being made. Since digital workstations and the use of video files for post there really hasn't been a need to trigger from TC. THe box we used to use was triggered by ProTools, but we stopped using even that because of the set up time. What we ended up using was a file pre made with the three beeps and space so you just tail synced the file to where the start location was. Very fast. But in Foley and ADR you are constantly moving your beeps to new locations, for a music video I would think you would always have them at the start for reference.

But I suspect Alex is right and what you have is a count in. In that case you really need to do playback from a DAW to make sure they are on the beat, or pre make them that way. Trying to get TC to trigger so the beeps are on the beat would be a nightmare.