![]() ![]() More intense metadata requirements can be supplemented with 3rd party programs, such as the Slate App available on iOS devices or QTake systems, but today we will look at the most common implementation of metadata on set which comes directly from the. There are several other metadata fields that can be filled out – it can become overwhelming fast. One of the side benefits of performing sync sound is that any metadata present inside of the audio clips (especially Scene, Shot, and Take info) are instantly carried over to the video clips during the sync sound process. This is not something you will usually have to worry about, as the audio card (typically in an SD or CF card form factor) is handed to you physically separate from the camera cards.ĭon’t forget to double-check what edition of Silverstack you are working with as audio sync can only be performed inside of Silverstack XT and Silverstack LAB! WHICH TAKE WAS THAT? It needs to be synced to picture before editing begins.īe sure to keep all your audio from your video across different bins from one another. The sound for a scene is recorded on a machine that is separate from the camera or picture-recording apparatus. Anything that cannot be synced using the Audio Wizard is generally not an errand to pursue as your limited time and effort are better spent on the other aspects of your responsibilities on set.ĭouble-system recording is a form of sound recording used in professional film and video production. ![]() Having that said, it is equally crucial for the Digital Imaging Technician to perform sync sound only with the assistance of timecode – we discuss using timecode in deeper detail in both the article and video below. Yes – this process is something that can be absolutely done at the lab after wrap (and usually handled by the Assistant Editor), but part of your job designation as a Digital Imaging Technician is to represent post-production’s interests by reducing turn around time and solving problems on set, and that includes handling the audio sync process up front. What that means is that principle audio is recorded to a separate device from the camera, and someone must now be in charge with putting the two together. It’s important to realize that while the edit house is completely content with editing low-res and low-bitrate proxy video files, having sync sound with high-quality audio is a requirement for most, if not all, post workflows. ![]() And if you’re in a professional setting, you’re shooting double-system sound. Now, you learn how to deliver sync sound directly to the post-production team – straight from the set. In earlier Insights in the Silverstack series, you’ve gotten comfortable with Silverstack’s user interface and workflow. Silverstack XT & Silverstack LAB: Silverstack Part 5: On-Set Audio Sync The price quoted is that of a yearly subscription.Tutorials / Learning Silverstack / How to Sync Double-System Sound In Silverstack XT & LAB Series For these cameras Silverstack includes extensive metadata and media management features, professional playback controls and further tools for quality check. ![]() Silverstack offers advanced support for handling movie data coming from ARRI Alexa, RED, Canon C300 / C500, Sony F5 / F55, Digital Bolex, Blackmagic Cinema Camera, Indiecam, Ikonoskop, Canon DSLR, Nikon DSLR and GoPro cameras as well as from AJA and Atomos field recorders. Furthermore, Silverstack includes a First Look transcoding functionality, a comprehensive clip library and customizable report capabilities which allows to document and to summarize all essential data management processes for the film- and postproduction team. The powerful software tool enables high-speed and checksum-verified copy and backup processes to multiple destinations for all kind of camera and file formats. Silverstack covers all essential media management activities on set starting the very first moment data is loaded off the camera. ![]()
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