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Canon 7D Audio Salvage?
So I recorded an interview with the Zoom H4N – came out perfect….but then I erased it. That was a sad day. So now I’m stuck with the sound out of the camera. I’m working in Audition – what are the frequencies or techniques to utilize to get this stuff sounding halfway acceptable? Is it even possible? I got rid of the ambient with a noise print but I can’t seem to fight this brutal midrange hollowness. To make matters worse the room was a loft with tile floors. I’m cooked right?
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16 Replies
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“I’m cooked right?” ….. Yep like a goose at Christmas
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Well, at least it’s a fellow Reynolds delivering the news
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how did you erase the zoom.
if you reformatted then yes youre goosed.
If you have made any other recordings then youre likely goosedIf neither, and you just, for some reason that you wont be able to understand yourself, deleted the file, then it will still be on the card and a data recovery place should be able to get it back.
It will cost you, but a cost to the wallet is usually the best way of cementing the learning process so you dont make the same mistake ever again.
PeterPost Production Dubbing Mixer
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Yeah reformat, but I’m interested in knowing how to somehow take the 7d sound from the camera and make it sound decent. It’s full of midrange, but I feel like it’s possible to make it sound much better. I thought someone might have been down this road and had some tips.
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Well, DLSR sound awful.
If its full of mid then eq that back, buti dont expect it will reveal anything sounding less horrible. They just are.
PeterPost Production Dubbing Mixer
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Peter,
We recently proved that Canon 5D Mk iii audio from a Tascam DR-60 D was very acceptable. We had to lower the mk iii input gain and adjust the DR-60D line out wheel to get proper level on the camera, but it worked.
I think the trick there was to use as little of the mk iii gain structure as possible.
Regards,
Ty Ford
Cow Audio Forum LeaderWant better production audio?: Ty Ford’s Audio Bootcamp Field Guide
Ty Ford Blog: Ty Ford’s Blog -
Hi Ty
Im pleased youve had better experience than me in this field, and I trust your comment on it, but Im just not a fan.I think the only thing that will make me a fan is a re think on the importance of the audio facilities in these cameras by the manufacturers.
I find the mic input circuitry to be harsh and edgy, I dont do mini jacks full stop, Id need the audio controls to be made available on wheels where an operator can get to them all the time, and Id need XLRs, switchable mic and line inputs and powering.
Basically I dont like audio being a poor relation, but Im happy when people get acceptable results, for them.
Many times have people brough DSLR audio to my mix studio saying theyre happy. All I do is book and ADR shoot.
PeterPost Production Dubbing Mixer
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Peter I wholeheartedly agree with you, these days I don’t even want to send a ‘guide’ track to DSLR after being caught out by a lazy editor / producer using the DSLR track rather than doing the right thing and syncing the separate audio track….
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Yes, but once you are asked to adjust and rehabilitate these god forsaken tracks what’s your best bet? That’s what I am wondering. We all know they suck, but what to do when they are in the lap?
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Any change of posting a snippet of what you’ve got? Perhaps 30 seconds on youtube.
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