HVX200 HD production: double system or direct-to-camera

Posted: Fri Jan 12, 2007 10:08 pm

Dear All,

I am doing a HD project with Panasonic HVX200 production, and I am not sure if I should record the sound to a seperate sound recorder or direct to the camera?

I understand if I don't have enough people, I just got stuck to record the sound to the camera.

However, let's say if I do have enough people, will it be better to record the sound into another recorder? You know, based on the spec of the camera, HVX200 records 16bit and 48HZ sound, which is just as same as the sound recorder I am going to use (By the way, which is a Tascam).

I must say that I feel very puzzeled that if the sound going directly to camera is as good as recored by double system. Why do people still do double system, which needs more people and requires to sync up in the post?

Also, as HVX200 and almost of all of the types of camears don't jam timecode (TC). Is there trick that I can do to let both camear and sound recorder have the identical TC, say if I have a sound recorder that can generate TC, like Sound Devices 702T?

I heard about that I can use the XLR sound input on the camera with line instead of MIC selected to connect to the sound recorder's TC out. Then the camera will have the same TC as the sound recorder runs. Is that so?

Thank you very much.

King

Moderator Joined: Apr 13, 2006 Posts: 129

The reason for a double system (at least here) is for backup. The other reason is the audio recorder usually (or should) have better quality converters/preamps than the camera, so that's the goto audio in post.

The camera audio gives you a backup (or vice versa perhaps). It isn't hard to sync in post with digital audio and DV/HDV/HD video - quite easy actually - how much sync you provide for on the shoot just simplifies it though, even if just slates.

For a film you probably wouldn't want to do this, but on some video shoots where options were limited, I've free-run separate audio to a laptop via an RME interface with no master clock, etc) - it synced perfectly in post (shooting HDV), and sounded significantly better than the camera audio.

A quality shotgun mic (or lav if you are going that route) will make even more difference than an average audio recorder though. A good audio recorder will make a big difference as well (i.e. good pres and converters).

The project and resources may dictate a different approach - just some ideas.

Posted: Sun Jan 14, 2007 11:07 am

Thanks a lot, dterry. It is really a clear explanation!

Posted: Tue Jan 16, 2007 12:17 am

Quote:

Also, as HVX200 and almost of all of the types of camears don't jam timecode (TC). Is there trick that I can do to let both camear and sound recorder have the identical TC, say if I have a sound recorder that can generate TC, like Sound Devices 702T?

If you cant, make sure you use a clapper.

Posted: Tue Jan 16, 2007 7:10 am

TVPostSound wrote:

Quote:

Also, as HVX200 and almost of all of the types of camears don't jam timecode (TC). Is there trick that I can do to let both camear and sound recorder have the identical TC, say if I have a sound recorder that can generate TC, like Sound Devices 702T?

If you cant, make sure you use a clapper.

Clapper? Are you talking about the real clap board or the one with free run TC?
Thanks.
King

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