Using Both XLR Inputs on my Camcorder- Bad Idea?

[Shane Ross]

Why include two XLR inputs if it’s bad to use both? No, it’s GOOD to use both.

Shane

GETTING ORGANIZED WITH FINAL CUT PRO DVD…don’t miss it.
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[David Roth weiss]

[Jared Smith] “Is this going to cause any issues during the shoot or in post (FCP 7)?”

This is the method that gives your editors the most flexibility in post.

I was a location sound engineer for seven years during one of my many incarnations in this business, and that’s precisely how I’d do it.

David Roth Weiss
Director/Editor/Colorist
David Weiss Productions, Inc.
Los Angeles
https://www.drwfilms.com

POST-PRODUCTION WITHOUT THE USUAL INSANITY ™

A forum host of Creative COW’s Business & Marketing and Apple Final Cut Pro forums. Formerly host of the Apple Final Cut Basics, Indie Film & Documentary, and Film History & Appreciations forums.

[Rafael Amador]

Sure, is the way to go.
Even if you would have only one mic, is convenient to record your audio in two channels.
rafael

http://www.nagavideo.com

[Chris Tompkins]

Ya, keep the levels a little lower in one channel.
Also, I find when you have many interviews in a short time, Using a boom is easier b/c there is no fussing around with them and the lav.
They walk in, they sit, and almost ready…

Chris Tompkins
Video Atlanta LLC

[Ken Jones]

[Chris Tompkins] “Also, I find when you have many interviews in a short time, Using a boom is easier b/c there is no fussing around with them and the lav.”

My thoughts exactly!

[Jared Smith]

that is exactly what i want to do but i am petrified of not getting good audio somehow if i don’t have two different options…

[Bernard Newnham]

THe bit you need to worry about is getting the levels right before you start – microphones give out quite surprisingly different basic output levels. So, make sure you’ve done checks with realistic voice levels before you start recording, and it’ll all be wonderful.

Oh – and if you should decide to run in auto, see whether the autos on the two channels are separate. If they use a common auto sensor, and one track is very loud, the other will disappear – as discovered by me the hard way on a helicoper some years ago.

B

bernie

[Dan Brockett]

Only recording interviews with a boom mic is common but it also boxes you into a corner. What if there is too much ambient noise that begins to show up mid-interview? What if the person’s voice just doesn’t sound good on the particular boom mic you are using? I highly recommend the approach you are taking, always record with two mics if you can. It gives you that most wonderful option in editing, choice.

Many people will sound better on a lav than a boom and vice-versa. Many times a boom mic will pickup ambient sound from the elevator that is 150 feet away, or that conversation coming through the walls three offices down. Lavs can really save your rear when shooting on location.

When shooting on a sound stage, using a boom only makes a lot more sense to me because there will probably not be any ambient issues. Using a boom only on location because you are too lazy to take the :15 it takes to clip on a lav is nuts, you are in the wrong business. Same with using wireless lavs for sit down interviews, it is the epitome of laziness. Use a wired lav and always use two mics when you can. It’s called best practices and it is what the most talented videographers and sound mixers do. You can’t do sound in a half-assed manner or it will bite you.

Cheers,

Dan

A Producer Who Is Also A DP? Yep, that’s Me.

http://www.danbrockett.com