On the Logmar the sound starts and stops with each shot. So I imagine the Kodak one would be the same. And I imagine it would have crystal sync transport (as the Logmar does). It's a quasi-single system sound, and not really a feature you'd use for drama work (or similar work), other than as a guide track. You really want to record top and tail sound to get some of the ambiance in a scene, and give yourself some overlap in the edit. In other words, shoot on a separate recorder. I shot a film recently (on 16mm) in which most of the sound was done completely wild. Every now and then I'd remember to get some sound clap in. But I found it was quite enjoyable syncronising it all up - looking at lips, and other cues in the image to rock and roll the sound into place. And sync maintenance for the duration of a shot turned out fine, despite not having a crystal sync transport, and having set the camera fps using a dial without any click stops.Will2 wrote:Makes me wonder how easy the audio syncing will be. It's tricky to do with a Zoom and a regular Super 8 camera...
I assume that you'll get a separate audio file each time the trigger is pulled and you'll manually sync it up with each cut. We could do this but I can't wait until they start getting the soccer mom calls on how this works!
But for documentary situations (or "news" material), especially if response time is critical, the quasi-single system sound becomes very useful. I suspect soccer moms won't be part of the targeted demographic. They'd be targeting hipsters, film students, and young people, all of whom will be more than happy to follow how-to-edit-film tutorials.