[Bill Doyle]

Tom,

No luck. I tried opening the sequence with Option and re-launching with Shift- both methods left the same result. The sequence doesn’t even have any plug-ins applied.

I don’t think it’s the sequence but rather something with the transfer of the program to the new computer.

27″ iMac i7 quad-core, 16Gb RAM, Final Cut Pro 7.0.3, OS 10.6.7, 23″ ACD

[Bill Doyle]

Tom,

It doesn’t seem like it should be the card as I’ve moved up dramatically in power. Can I open FCP without opening any project just to make sure everything is working with the transition to the new computer itself?

Thanks.

27″ iMac i7 quad-core, 16Gb RAM, Final Cut Pro 7.0.3, OS 10.6.7, 23″ ACD

[Bill Doyle]

Tony,

The wait is only for the initial power-up (approx. 15 seconds). Once it is on, you can hit record immediately. You can also set up a 2-second pre-record so you won’t miss anything.

Bill

[Bill Doyle]

Tony,

I use one or two lavs plugged into the XLR inputs (they also accept 1/4′ and can accommodate condensers) and use the built-ins for backup and ambient room/environment sound. The XLR/1/4″ inputs have an independent signal adjustment from the built-ins.

Bill

[Bill Doyle]

I’m with Brian on the IS. If you’re getting a telephoto, you really need it. If you get a zoom, make sure it’s a constant aperture.

Bill Doyle

[Bill Doyle]

Tony,

You can set the recording levels independently on the H4n (not each mike or each XLR input, but you can adjust the XLR inputs and the mic inputs separately). The H4n does have a slow start-up time compared to the H1, however.

I’m not sure about the Tascam, but I’ve gotten positive feedback from those that own one.

Bill

[Bill Doyle]

Tony,

I’m not aware of a specific shock mount at this time (the H1 just came out), but I would imagine you could use a basic microphone shock mount designed for video cameras.

Correct, you don’t get both. That’s what you get with the H4n.

Bill

[Bill Doyle]

Tony,

If you really want to keep the cost low, get a Zoom H1 ($99) and an Audio-Technica AT3350 wired lav ($20). The H1 can be hand-held and passed around like a wireless mike or you can use it for music and ambient sound. If you’re doing an interview, your talent can wear the lav and put the H1 in a pocket.

If you’re close enough, the 3350 has a 20′ cord which means you can plug it directly into your camera.

Lastly, you can put the H1 on your camera with a hot shoe mount.

After that, I would add the Rode, then the H4n and, finally, a wireless lav.

Bill

[Bill Doyle]

To add to Richard’s thoughts, I would get a Rode VideoMic for your camera. In a pinch, you can use the audio from that, but I use it to make sure I’m getting decent sound for syncing. If you’re shooting close to the subject, you’ll be fine using the camera mic to sync with the Zoom, but from a distance, it will be much harder for a program like PluralEyes to do its work.

I use the built-in mics on the Zoom a few feet away from the subject, a wireless lav into the XLR and the Rode on my camera. I also have a second wired lav feeding into a Zoom H1 as a backup.

Bill Doyle

17″ MBP, Final Cut Pro 7, 23″ ACD, Matrox MXO, Canon t2i

[Bill Doyle]

Mitch,

The bottom line is that the camera especially one as inexpensive as the t2i) is basically the cheapest part of the whole system and, as with all technology, you’ve only got about 3 years before it’s totally behind the curve; lenses, on the other hand hold their technological edge for 10-15 years.

For the most part, I would only get a few EF-S lenses as you will be limited to crop sensor cameras whereas the others will work with 1.3 crop and full-frame.

For the live music, it depends on indoor or outdoor. If outdoors, you’ll only need a variable ND filter so you can open up the aperture and get a shallow depth of field. If you have a telephoto prime or zoom, the Canon 1.4x extender will allow you to get closer without losing quality and only a 1-stop loss of light.

If you’re indoors, a 2.8 or better is almost a necessity because the t2i is only good to about 1600 ISO in video mode. If you can get somewhat close to your subject, don’t overlook a 35mm or 50mm prime in 1.2, 1.4 or 1.8 (depending on the lens). I’m not a big fan of the 50mm 1.8 (even though it’s only $100) because it has an extremely small focusing ring. The 50mm 1.2 is a beautiful lens, but roughly three times the cost of the 1.4. You’ll also find that shooting video with prime lenses forces you to become a better videographer and produces a pleasing “zoom” to your audience when you move in.

Bill