A big advantage to video on any set, especially a music video, is playback on the set. A big disadvantage is not being able to feed timecode into miniDV cameras -- and using a timecode slate is a big, expensive pain in the ass. Here is a simple method to get timecode on your scenes: Get the studio master of the song from the artist or label and dub the song onto a mini-DV tape. Just record audio with no video. Then use this to playback in the field or do a timecode burn of this new "master" onto another format. The song now is "striped" with 30NDF timecode. Play back with timecode visible onto a monitor in the field. This rig becomes bulky but clever de facto timecode slate. Make sure you roll a good three to five seconds of timecode before you start shooting the performance. When you are done shooting digitize your "new timecode master" as a reference clip. Make sure you digitize the timecode burn. All of your takes now have the same head timecode as your reference clip. To get perfect sync, just line the visible timecode on your reference clip with the timecode you shot in the field off of your monitor. This works well if your artist can maintain sync. As director, you have the right to give your talent (artist) direction. Make them practice lip-syncing. Have them do it over and over into a mirror until they have it down well. They must sing! They cannot just move their lips to the song. It will not work. Tell your artist that playback will be loud and they need to sing-sync loud enough to hear themselves over playback. This WORKS!!!! The result is a more natural, look in the finished piece. Other thoughts not pertaining to timecode: Use the frame movie mode only. To give a letterbox look, shoot in 16:9 Light according to the mood you want Make sure your subject is lit properly, but experiment. Have fun! Created: 2005-03-15 Modified: [Return to Previous Screen]