[André Mascarenhas]

Yes, the problem is that I’m still not sure what creative lut I put on top of the rec709 lut… Anyway, I got it sorted for this one.

Indeed the workflow you suggested should be essential common practice – will make sure to do it for my recent and future projects. Thanks again!

[André Mascarenhas]

Hey Mads,

Thanks for getting back to me.

Indeed this might be the case with applying a base LUT directly to the source footage. I was shooting with a good old Gh5 back in the day and when checking the original footage, it definitely is v-log, but in my project it does have the rec709 look embedded, even though the lut is not listed under technical LUTs.
Fortunately, I figured out a workaround – one that is a bit sloppy but will work out for this client, who is not picky. I placed the final exported file on top of my edit, and I’m doing some croppings in the parts of the image where I need to place new graphic elements – mostly lower thirds. I’m doing some basic matching of looks – it’s barely noticeable 🙂
Probably downloading Pr2018 could be a solution too! Will keep this in mind for future projects.

Thanks for your help anyway!

André

[André Mascarenhas]

Indeed 3 for 3! Thanks

[André Mascarenhas]

Hi all,

Ends up that the issue was on the receiver of my G3 lav mic kit. Since the button to lower the gain was broken, it’s something I couldn’t change and it didn’t matter how much lower I set the gain on the camera – the audio already arrived clipping.
I already sent the unit for repair.

Fortunately, what save me was a software called iZotope RX 6, that has an “de-clip” that works incredibly well. Their basic version has this feature inclued – https://www.izotope.com/en/products/repair-and-edit/rx.html

Thanks again for all your help!

Andre

[André Mascarenhas]

Hey Ty,

Yes,I’ll make sure to come back and update the case.

[André Mascarenhas]

Bob, thank you so much for the info.

Now reflecting, I really think it is an issue with my wireless receiver: since the left-right button is only functioning on one side (to the right), I cannot lower its gain. So although it is not peaking on the camera, it’s peaking on the wireless set.
I really appreciate the tip on the C100, but for this case, I don’t think this is it, since I just used another mic with it and it was under a limit.

The audio mixer tip is the one to go. I a couple of days I’ll have access to one and I’ll test it out.

Thanks so much, really appreciate your help and for sharing your expertise.

Best,
Andre

[André Mascarenhas]

Thanks, Craig! Indeed I’ve learned a lot from Ty just reading his comments and watching videos in the past week, so I’m sure if I keep the pace I’ll be much more comfortable with the vocabulary and technicalities sooner than I’d imagine. I’m also learning a lot from you.
Your tips are very welcomed and I’ll apply them when shooting (some I already do, which is great to know that others also do).

I’ll list a Mixer as a next purchase, and I’m sure it will be a solid investment.

Thanks again for all your suggestions and tips!

Andre

[André Mascarenhas]

Hi Ty, thanks very much for all the fantastic information! I sure have read many of your very informative comments on the forum and also watched some of your videos – thanks for these as well.

Your input is very important for me, as a not audio professional, and I’ll sure learn a lot when researching about the bullet points that you listed why a mixer is essential and should not be considered as basic equipment for my shoots.

To be honest, my company is recently new – 2 years -, and I started doing small business videos with a 60D and a VidPro shotgun recording on a H4n. No assistant, just me. Fortunately I’ve rapidly grown and lately I have more and better gear (mostly for the visual results), and as I said, I can afford an assistant. Clients are also getting bigger, but it’s a long path. I’ll have a bigger project coming in August where I’ll be able to have a audio professional recording audio. I hope that becomes my new standard and I can always have amazing audio (and have to worry about that myself when shooting).

For the time being, for the shoots where I cannot afford an audio person, what mixer would recommend me using, when connecting to my Canon C100? (Or should I get an external recorder?). Craig Alan, in this thread, suggested a SD 302.

I do have to say that I’ve learned a lot just in the past couple of weeks, when I started searching for a new mic. I look forward to what I’ll learn in the future weeks.

Thanks!
Andre

[André Mascarenhas]

Thanks for sharing your experience with the 416, Todd! Like you, I’m mainly on the camera – so not a sound guy. But I’m interested in learning how to get the best of my audio.
I think for my situation, where many of my shoots are in office space, and the hard floors can reflect the sound quite a bit, I’m going for a supercardioid mic (the MKH50 – listen to some audio samples and you will be amazed like I was).
Still, I’m considering getting a 416 for outdoor shoots… Let’s see, for now I’ll keep my MKE600 as a shotgun.

Again, thanks for your input on the 416- just makes me more interested in using one!

[André Mascarenhas]

Check this out:

https://www.bhphotovideo.com/c/product/1119722-REG/freefly_910_00088_right_angle_mini_hdmi_type.html

Made for Movis, ready for your Ronin 🙂