[tig] Syncing from Audio CD

[Michael Burton]

I'd suggests a one light transfer and sync sound in Avid (or their
non-linear system of choice). 
This isn't to fob responsibility, but it's a heaps easier to sync from
disk than from a dodgy DAT made from an arbitrarily recorded WAV file
with no speed or T/C reference.

The only helpful  move might be to ensure that the WAV file is at least
at the same frame rate as the film, ie. If it's a 24 frame film
transferred at 25, speed up the WAV by 4.1%. If it's a 24 transferred at
24+pulldown, slow it by 1%, unless you are using an AVID where you can
keep it at a true 24 frame rate....

OK, we'll fix it in post.....


> -----Original Message-----
> From: tig-admin at tig.colorist.org 
> [mailto:tig-admin at tig.colorist.org] On Behalf Of Jeff Booth
> Sent: Wednesday, 7 April 2004 7:01 PM
> To: Marc Wielage; Knox McCormac; TIG
> Subject: RE: [tig] Syncing from Audio CD
> 
> 
> thanks to Laurence Claydon for supporting the TIG.
> --
> 
> I agree with Marc, looks to me like you're in deep shit.
> 
> You'll probably find that they used a laptop to record the 
> audio because it was cheaper than using a 'real' machine.
> 
> I suggest you charge them accordingly.
> 
> Jeff
> 
> -----Original Message-----
> From: tig-admin at tig.colorist.org [mailto:tig-admin at tig.colorist.org]On
> Behalf Of Marc Wielage
> Sent: 07 April 2004 04:03
> To: Knox McCormac; TIG
> Subject: Re: [tig] Syncing from Audio CD
> 
> 
> thanks to Laurence Claydon for supporting the TIG.
> --
> 
> On 4/6/04 3:43 PM, "Knox McCormac" <knox at optimus.com> 
> commented on the TIG
> list:
> 
> > The original recording device at the shoot was a laptop. I was told 
> >that the  audio was recorded directly to the laptop into a 
> wav file.  
> >The person I was  talking to had no idea what software the sound 
> >company was using or if there  was any external hardware 
> involved. So 
> >there are no original field DAT's or  anything with a timing 
> reference. 
> >The wav files were then copied to a CD and  sent to us. 
> >--------------------------------snip-------------------------
> ---------<
> 
> 
> Man, if that's the case, all bets are off.  To my knowledge, 
> there's no easy, reliable way to record location sound locked 
> to code by using a laptop alone in the field.  This has been 
> discussed many times on the Usenet newsgroup 
> rec.arts.movies.production.sound.
> 
> If the files are .WAV files with embedded timecode (created 
> from ProTools or the equivalent), you have a fighting chance. 
>  But it's still sounds like a non-standard system.  If they 
> used a Deva, Fostex, or one of the new Sound Devices or HHB 
> machines, it can work, assuming you have a compatible 
> playback device (like a Fostex DV-40).
> 
> Get hold of the production sound recordist and ask them if 
> they've ever done this before.  My guess is no, and that they 
> had a bad reference in the field, which would lead to a small 
> timing error (like the 8 frames per three minutes you cite).  
> Given that, the solution is to transfer all the film MOS, and 
> then use ProTools -- or another varispeed device -- to 
> manually expand or compress each take back into sync.  The 
> good news is, there's a chance that the sync drift is 
> constant and repeatable, meaning once you find the precise 
> varispeed percentage, the editor can apply it to every take 
> and it "should" work.
> 
> A production crew doing this kind of stuff without a timecode 
> slate, no notes, and no contacts for the post house to is 
> almost unforgivable.  The clients sound like real amateurs -- 
> not that being an amateur is wrong, but I get mighty peeved 
> when filmmakers like this don't ask the right questions 
> questions and make tests BEFORE they shoot.
> 
> You ever notice how 90% of the major problems in telecine are 
> all related to audio and timecode -- never color?  <shaking 
> my head in frustration>
> 
> --Marc Wielage
>   LA colorist-at-large
> 
> 
> 
> --
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> 
> 
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