I was wondering if someone could help me fill in the blanks concerning the production sound workflow (for a feature) and how exactly the dailies get passed along to the editor at the end of each day. Here are the main points of my plan...
Record Broadcast WAV Mono Files (BWF-M) at 24bit 48kHz. (Use Mono files since Polyphonic files are not acceptable in the iXML workflow to Pro Tools.)
Record 1 separate file per channel (I'm not sure this is necessary-any thought?). The Scene, Shot, and Take numbers are to be embedded into the filename (Example: 27-01A-02.BWF). If possible, use a Time Code Slate that supports 23.98 Time Code. Jam sync with camera’s TOD timecode.
What I want to know as I mentioned earlier (the simple question) is how the production sound mixer passes the files off to the editor. Is it possible to have them load their clips onto the drives that the Red Tech is using to backup the footage? That way when one of the drives is brought to the editor they can transfer both Picture and Sound. Also, is there a preferred program for converting BWF files into a format that works with FCP? Finally, how many tracks are usually used while recording, my understanding is that there is one mixed track (for the editor) and various unmixed tracks for use by the sound designer/mixer. If you know of any detailed production sound workflow charts I could check out I would really appreciate it. Thanks everyone, Tommy