Let's face reality: in indy feature films there's practically no reason to use timecode. There just isn't. You can't really sync any sub-$100,000 camera with timecode on set, and so you can't really use it in post.
But because I was a sound mixer in a previous life, I have a fancy-pants timecode slate made by Ambient. Thing is, I've never fed it timecode. Originally I had one of those Fostex PD-2 DAT machines. That was a clunky thing. Expensive. Fiddly. But it could read and write timecode in whatever format you wanted, do pull-up and pull-down and whatever nonsense people used to do when shooting at 24fps, blah-blah-blah.
Then I went to a computer system. Metacorder. Way over-priced but fairly workable. That system would actually jam timecode too. Uh. Just on the output? I think maybe it just output timecode which the slate could sync to. I think. Wow. It's been a number of years...
But then we worked with non-timecode Sound Devices recorders for the last many years. And we use the slate because it comes down and makes a "whack" sound which is easy to sync up on the timeline (actually, I like the Ambient slate because there are these lights which come on when the slate actually hits and that makes finding the visual mark where the whack happens really simple.)
Saturday, February 6, 2016
Subscribe to:
Post Comments (Atom)
2 comments:
Heh heh. You said user bits.
Hee hee!
What I should REALLY do is make the user bits the same as the take number. Man. That would be awesome. Lemme look at the manual...
Post a Comment