Most field recorders also allow the manual entry of additional types of metadata, including Channel Name/Number, Scene, Take, Circled Take, User Bits, and more. Multichannel recordings made by a field recorder should be encoded with start and end timestamps representing SMPTE timecode or linear timecode (also known as LTC). Information embedded in Pro Tools sessions or other sequences, including what files are used, where they appear in a timeline, and automation.įor AAF or OMF sequences, information about automation or clip-based gain.ĭigital Field Recorders - A field recorder, also known as a hard disk location audio recorder, is a device used by a production sound mixer during a film or video shoot to make a multichannel recording of multiple microphone inputs recorded simultaneously.ĭepending on the capabilities and settings of a field recorder, multichannel recordings can include one or more tracks (up to 32) and are saved as monophonic or polyphonic audio files onto a hard drive, DVD-RAM, or cards. This may include scene, take, sample rate, bit depth, external clip names, the name of the media( which used to be tape) from which the media file was captured, and even timecode values. Metadata is used to describe the following: When the telecine video files are ingested into the video editing application, the information in the FLEx file is used to assign the original (location) timecode to the resulting audio and video source files. If the project is being shot on film, the telecine operator uses all of this information to synchronise the film stock to the recorded audio in order to create the telecine video files.įLEx File - The FLEx file is a text file generated during a telecine session that relates film keycode, field recorder timecode, and telecine videotape timecode. The sound of the slate clapping is captured by the field recorder, which should be using the same timecode as displayed on the slate. The scene, take, and timecode information is captured visually on film. At the start of each take, the slate operator claps the slate, which simultaneously captures the following information: Slate Operator and Clapboard Information - The slate operator holds and labels the slate (also known as a clapboard) for each new scene and take. Sound Log - The sound log is a document in which the production sound mixer records each scene and take relative to its beginning timecode position. It is later used by the telecine operator to synchronise the audio and video together. Shootlist - The shootlist is a document in which the camera assistant records each scene and take, relative to its keycode value on the film stock. Pro Tools Editor -Alternatively the Pro Tools Editor, which in this case is likely to be an assistant in the sound post-production team can be responsible for the ingesting of the raw audio rushes. Video Editor - On smaller projects, it may well be the video editor, or more likely their assistant, will be responsible for the ingest of the rushes from the location. telecine is the tool that converts the film into video footage.ĭigital Image Technician (DIT) - Although the DIT is officially part of the camera teams, will of course also be handling media management, storage, and backup. Telecine Operator (only when the project has been shot on film). Production Sound Mixer - The production sound mixer uses a field recorder to record multichannel audio during a shoot, and later delivers those source files to one or more parties: Most consumer digital video recorders do not have the ability to generate timecode. Minutes:Seconds - Timecode based on minutes and seconds. The generating clock of this timecode can be based on the time of day or can be set to ascend beginning from a certain starting time of day. SMPTE Timecode - Also known as LTC or linear timecode. Keycode - Each frame of film stock is embedded during manufacturing with a unique identifying timecode position known as keycode. Timecode - There are four types of timecode, depending on your production: A Glossary Of Terminology For Field Recorder Workflowīefore we go any further let’s acquaint ourselves with the terminology used. This involves designating a track as a field recorder guide track and then using Field Recorder Match Criteria to specify to Pro Tools what constitutes a match to the edited rough mix. Using embedded metadata and timecode from the BWAV files, the field recorder workflow in Pro Tools is able to rebuild the multi-channel recordings, expanding the various microphone channels to new tracks in Pro Tools and matching the edits made by the video editor. In our recent podcast on all things Dialog, we discussed that the Pro Tools Field Recorder Workflow, introduced in Pro Tools 7, is still very much a thing in modern audio post-production workflows.
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