1. Location Sound II

2. Pre-Production 1.Location Scouting. Listen for Noise and Reverb. 2.Budget Time: Cost of ADR recording and editing are VERY HIGH, so take time to record clean dialogue on set. Assignment: Due March 9. The production triangle: Fast, cheap or good? Choose two only.

3. On Set: Reverb/Reflections Reverb/Reflections What causes it? Why do we want to minimize reflections? How do we minimize reflections? Which location will present a larger problem for recording dialogue, a large, reverberant room (gymnasium) or a small reverberant room (small, empty bedroom)? On Set: Noise Control Can you control the source? Can you control the transmission path? Can you isolate the receiver (the mic)? If you answer no to all of the above, prepare for a noisy, unprofessional soundtrack, and/or heavy sound editing, and/or ADR

4. The Time Code Slate (we missed you) 1. sync audio and video by matching time code. Run TC from 702T to slate and possibly camera (if it has TC capabilities) 2. Manually sync in post by matching the visual (sticks meeting) and audio (waveform) sync points

5. The TC Slate (Smart Slate) TC Rate : DVX 29.97ND, so is slate 29.97ND fps RUN mode

6. Time Code: 702T Settings First, set time of day if necessary 57) Time/Date: Set > Then, select time code mode 40) TimeCode: Frame Rate > 29.97 41) TimeCode: Mode > 24 Run

7. Time Code: Jam Slate to 702T Power off slate Connect to 702T Turn on slate Automatically jams (time code should read exactly the same on 702T and slate) Any time you power off the slate you have to re-jam.

8. Review - Set Calls “can I get a frame line?” ----------- AD: “Roll Sound” you:“Speed” AD: “Roll Camera” DP:“rolling” AD: “Call it”Clapper: “scene two Clapper: “Mark it”Clapper: [clap sticks] DP: “Frame”director: “Action” Record the rehearsals!

9. Review: Line Up Tones To know: VU or Peak meters (analog or digital)

10. Review: Signal Flow