Camcorder Masterclass - Index

Integrating audio elements We have already advised on the three constituent elements of an integrated soundtrack, namely sound effects (SFX), music and commentary. Here we'll outline the pre-edit procedures and that will be followed with various methods for combining and transferring those elements to the Master Edit. Choice will be offered because, provided the end result is satisfactory, there isn't a right or wrong way. Much depends upon the equipment available and personal preference. We suggest you see what suits you best, maybe trying out your own variations. An equipment layout, which caters for some of our suggestions is shown in the diagram. Where necessary, variations will be shown. First we need to recall what has been done during the course of compiling a track for each of the three elements: On the Master Edit a tape synchronisation mark was recorded, just prior to the start of the video. we used a bar form of clock, which ran for about four seconds and also showed frame numbers. A clockface with a second hand, although not quite as good, would suffice. music accompanied the mark so that when the existing linear track of the Master Edit, which contains only location sound plus other SFX , is replaced with an integrated track the beginning will not be spoilt by operation of the VCR's audio auto. level control (ALC). Three copies of the (SFX) Master Edit have been made, one for for integration purposes, another for reference and experimentation and the third, which excluded any sound, for use at (3). Commentary was recorded on an audio cassette and then transferred to the appropriate positions on the muted copy. The required timed musical segments are on audio cassette with a two second gap between each part. Additional pre-integration: Insert the commentary tape (3) in Player one (preferably a VCR) and reset the tape or realtime counter at a definitive point within the sync. mark. Then play the tape and log the reading wherever a segment of commentary starts and stops. (During the integration dub this will enable music and SFX to be faded in or out, at the right movements.) Whilst playing the commentary tape also note where the volume controls on the audio mixer have to be set so that speech peaks at 0dB. If your equipment has no level meters then rely on your ears, ensuring that there is a good sound without distortion. Similarly set and play the reference copy (no.2) of the SFX tape noting any points additional to those already logged at (5) where the volume needs to be raised or lowered. Note the minimum and maximum settings required on the mixer input volume controls. You might find it easier to replay SFX in synchronisation with the commentary tape. In this case you can either play/pause the two tapes at precisely the same sync. point or set player one tape, a few frames ahead of that on player two. (This might be required during the actual integration run, when there may be four machines to control and only one pair of hands.) If you elect to slightly advance the commentary tape on player one then release pause immediately after playback commences on player two. Should you find that, despite accurately lining up sync. frames, the SFX and commentary are slightly adrift, it may be due to a difference in the start up speeds of the two machines. In such a case some allowance will be needed when setting the sync. mark.

Camcorder Masterclass - Index

Integrating soundtracks - three methods To follow the various methods for integrating sound effects (SFX), music and commentary you will need to have carried out various pre-transfer tasks Method One Set the mixer input and output volume controls at their predetermined levels. If you've experimented properly neither the input level for the commentary or the mixed output will need subsequent adjustment. However, the SFX and music volumes will require alteration during the transfer. Before dubbing the tracks onto the Master Edit rehearse the run. Therefore load video and audio tapes as per last month's diagram, but put the experimental copy and not the original Master Edit, into the Record VCR. Next pause the audio tape at the musical start point and likewise line up the sync. marks on the video tapes in Players one, two and the Record VCR, in that order. Whilst the latter two tapes must be identically aligned, the sync. point on the commentary tape (Player one) might, more conveniently, be set a few frames ahead. Note - the play machines should be in the play/pause mode and the record VCR on pause/audio dub. Zeroise all tape counters. ) Re-check that the above modes have been correctly set and then simultaneously release pause on Player two and the Record VCR. Immediately afterwards do the same on Player one. Audio dubbing has now commenced and the integrated track and visuals should be heard and seen on the monitor/TV. During the dub smoothly control the mixer SFX input volume, decreasing or increasing levels so that the SFX, either on its own or blended with commentary or music, can be properly heard without being unnecessarily over-obtrusive or aggravating. Careful listening, and constant reference to the sound log is necessary. Whenever music is needed release pause on the audio player and reset it at about one second after the segment ends. Fade up and down, as required. Upon completion of the transfer, play back the experimental copy and ensure that the linear soundtrack synchronises with the visuals. (Any non-synchronisation should have been detected early on in the run and the transfer aborted.) When all faults have been eliminated the proper run can commence. The integrated sound on the experimental copy can be transferred to the Master Edit but a slightly better quality might be achieved by using the source tapes for the transfer. Any adjustments noted during the rehearsal must be taken into account. If insert edit is available, it's worth very carefully overlaying the sync. mark on the Master Edit with "blacked" tape. The accompanying sound can also be erased using audio dub. Method Two Provided there are sufficient interludes, instead of dubbing all music from one audio tape, use the originals. Obviously each tape must be wound to its required start point before insertion in the cassette player. Alternatively CDs could be used, readings of the pause settings having been taken prior to the run. In all other respects Method one procedures apply. Method two is more difficult but should provide marginally better sound. Method Three A slightly simpler variation of Method One, the gap between each musical segment conforming to that required on the Master Edit. The audio tape therefore runs continuously throughout the transfer and only the volume needs to be controlled. This eliminates mistimings due to errors in operating the pause control. It does take more effort to assemble the audio play tape, and the cassette player must be capable of consistent running in (wild) sync. with the VCRS.