From: redmond entwistle (email suppressed)
Date: Wed Oct 22 2008 - 05:28:07 PDT
I have a post-production sound question for all the frameworkers out
I'm about to start shooting a piece with sync sound on 16mm. I'll be
transferring the digital sound files to mag to edit with a workprint.
Then going to a neg cut from this workprint edit. But then going back to
Protools and the original sound files for a digital sound mix, as I want
to have the option at that stage of either a video/HD or 16mm print.
But I've been warned that if I then want to go back to do a protools mix
from my original digital files this could be a timecode and syncing
nightmare. At this stage the slates will be cut out and there has been
talk of matching waveforms, which will take months!
Does anyone have suggestions for making sure I can relatively easily
match my sound back up with the cut neg at the protools mix stage?
One possibility that has been suggested, and it would be good to hear
what frameworkers think of its viability, is that I'm shooting with an
Aaton XTR and this camera can print timecode onto the film to match the
slate and recorder timecode.
Any advice would be much appreciated!
For info on FrameWorks, contact Pip Chodorov at <email suppressed>.