Al Bergstein
Forum Replies Created
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You do not need dual sound with this camera. So it depends on your style of shooting. For my low budget documentary and corporate interviews, etc. I usually just go directly in to the camera with my feeds. It does suppose that you can run your levels just fine without touching the camera. Often that’s ok, sometimes not. For shooting one of a kind audio like music, or if I have a situation where I need to run the levels, I usually run a second recorder and/or my SD MixpreD and feed the camera along with that. But the sound on the C100 is just fine for most uses.
Al
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Interesting… I just did a large batch of duplicated short (3 to 10 minute) ‘films’ (really audio blogs with animated titles that all needed rendering) and sent them off to AME for rendering out to H.264 Vimeo. While it had to run overnight, it executed with no problems (which has not been true of previous AME batch jobs in earlier versions). I guess I’ve been luckier than most?
Just for clarity, this is what my setup is:
iMac 27″ 2013 model, 16GBs RAM, OSX 10.9.4
Project and media all on OWC RAID 5 Striped with 400GB free at this point. Drive is eSata plugged into a TB converter box.
Rendered out to esata single 1 TB drive, also chained into the TB port converter, and then both TB into individual TB ports on the iMac.I run the latest version of Pr (which I can’t remember right now). But it seems to be working fine here. Perhaps it’s been updated and fixed?
Al
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A quick Google search on Premiere cc 2014 master clips finds this very educational overview by the well regarded editor and teacher Larry Jordan. I highly recommend his tutorials, and also you can find other tutorials that are quite in depth on other major paid training sites. Thanks for asking the question, as I hadn’t started using master clips for this, and I also had a project this week that could have benefited from them. By the way, be cautious of reusing titles, another issue you might encounter. You can end up changing the original if you try and reuse it without duplicated it first and renaming it!
The link to Larry’s article on master clips is here. I recommend subscribing to his free weekly newsletter, as you can then find out when he is bringing out new Premiere training clips. He is primarily a Final Cut Pro guy but does a lot of Pr as well.
https://www.larryjordan.biz/premiere-pro-cc-2014-master-clips/
Richard Harrington, a Cow contributor, also has a lot of great Premiere training, some of it free, on Cow and on Lynda.com
Good luck. I came from FCP 7 and really have loved the stability and capability of Pr. It takes a bit of getting used to, but so did FCP.
Al
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Michael. it seems if you really need to do live voice over and also film in a green screen studio and only care about mixing the audio and running the volume control into the camera, that the Mixpre-D is a good solution. The Tascam is a bit harder to ride volume pots on real time. I wouldn’t consider using it for such a thing. using a Mixpre-D to feed a 680 might be the bette choice. You can also feed your camera at the same time. Might be a bit non-ergonomic. But it would get the job done. But you could do it with any recorder actually from the mixpre-d.
Al
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The specs seem almost identical to the older unit. But for the price, what the hell. It’s a great unit for $200. A no brainer.
Al
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Remember, the Mixpre-D, while very useful, is only a mixer, not a recorder. The Tascam is a recorder (and it has some mixer ability with it). How many mic ins do you need? if you need 4 in and a high quality mixer/recorder in one package, then yes, the 680 is quite nice. We used it to record live performances of a singer/songwriter and the quality was superb. No discernible noise floor. Nice preamps. For the price, it’s a great deal. If you only need two mic/line in you might also want to check out the 60d, which screws onto your DSLR mount. It has the ability to record one channel of audio while recording a second backup copy at -6 db below so you are protected from spikes. It not only records but also can feed your camera so you get a backup onto the camera that is high quality blend. Helpful for one man bands. The build quality is less, a bit plastic, and the pre’s are not up to the 680 quality (IMHO).
Of course, you can buy SD quality for more money, and if you are really going to be pushing the gear in the field, it might be the right way to go. you can’t beat SD for ruggedness. And I believe their field recorder allows you to use standard Sony batteries for much longer life in the field. That’s a huge plus.
Good luck.
Al
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Your mic on a boompole is fine when you can use it. I have the Tascam 680 and for use with a DSLR and a shotgun or other field mic it’s fine for the price. It’s not terribly rugged. I would not buy the SD unless you really want to carry that much weight around. Don’t get me wrong, It’s a fabulous product, and yes, you likely will need to replace the Tascam in a couple of years, but I’ve found it to be very reliable, though it eats batteries.
I tend to agree with Richard. I now usually use a real videocamera (C100) with xlr inputs. Simplifies my life greatly and gives me the DSLR look of shallow DOF when needed.
Best of luck.
Al
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I use FileBuddy to do some of this. It’s an elegant Finder replacement. Works well.
Also.
https://www.deltopia.com/compare-merge-sync/macosx/
and
https://www.macupdate.com/app/mac/14192/compare-folders
might do what you want.
Try searching Google for Mac OSX File Folder compare. There are others out there.
Some people actually use Parallels and use Windows tools, which are much more robust in this area, for some odd reason. I have yet to find tools on the Mac for this that are as good as the ones I use on Windows, which are fast and well thought out.Al
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Yes, I was talking gain. And since it was happening on all three gain switch settings, you are right in sending it back for repairs. I’ve done that once with a different RODE device, and they were fast and very responsive. I consider them great at customer service.
Al
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Dan I had similar problems and sent it back to the factory for repair. It came back fine and has been flawless ever since. It is heavy though, since you are driving two lavs with the system. I bought a special mount from B&H that allows me to mount the reciever on the hot shoe, like the Sennheiser’s do. That has worked fine. I’d start by sending it back to AT and have them look it over.
I also have the usual Sennheiser mic system, and it’s been flawless. It’s also pretty much a most popular item for many indie filmmakers. The Sony’s mentioned in another post also seem to be a high quality, maybe a bit pricey for what they are.
Al