[Brian Reynolds]

Shoot finished..just listened to the mixer o/p in the initial set up then used the rotary monitor ‘select knob‘ to monitor Cam A and wind up the H/Phone level to a usable level, then use the monitor ‘select switch‘ to check on Cam B. So really never got in to a loud / soft situation, continually listening to A with the occasional check on B.

Worked well.

[Brian Reynolds]

Yes both those knobs are at maximum level…

[Brian Reynolds]

Boundary layer microphones might be the answer… for 10 people put a mic between not in front of each person on the desk. That means 10 mics.
Minimum number would be 4 mics one in each 1/4 of the desk.
There is lots of stuff available now days for ‘Teleconferencing’ that would suit your needs.
ISO record each mic, put a Lav mic on the main presenter (if there is one) and a boom pole for extra FX.
Feed a guide mix to one of the camera audio channels and a camera FX mic to the other channel.
If it needs to be mixed ‘live’ Shure auto mixers (410 /810) give good results in setups like this and worth the hire charge.

If you don’t want to ISO to a separate recorder then direct feed each camera with 2 mics (directly opposite them). Slate and or time code lock ALL the cameras.

There you go that should get your brain whirring for awhile.

[Brian Reynolds]

A colleague of mine had a similar problem recently and currently working through it with testing, here is a copy of an email with some more info.
Yes Im aware this problem occurred on a Cannon 5D3

Direct from the operation manual there are two ways of recording moving vision on the 5D3. As mentioned over the phone I always send the camera out in ALL-I mode, but I did noticed (camera person) had selected the compressed mode, IPB mode. As the camera is new I’m learning too. I will look in the blogs to see if anyone else has had similar issues.

Here you’ll see the options:

[Brian Reynolds]

Ok audio recording onto a DSLR is not regarded as good quality in a professional sense, if you are serious about getting good quality audio you will need a separate recorder and sync the pics and audio in post production.
DSLR recorded audio certainly does not match the picture quality the cameras can produce.

Azden mics are not regarded as high quality mics…. In life you get what you pay for.

The XLR – 3.5mm stereo plug will probably have to be a custom made cable as most off the shelf cables / adaptors are incorrectly wired.
The correct wiring…. + side of the mic o/p needs to go to the tip AND ring of the plug and the – side of the mic needs to go the sleeve of the connector.

If incorrectly wired ‘off the shelf’ cables are used, and you are using a balanced mic an in-phase signal is recorded on L channel and an out of phase signal is recorded on the R channel, this results in problems in post production.

Have a read of this thread…
https://forums.creativecow.net/thread/30/869444#869444

[Brian Reynolds]

The hash about 1/2 way through is RF interference caused by some other device nearby, or an RF drop out.
What sort of radio mic system are you using?
Is a diversity or NON diversity receiver?
Did you do a frequency scan?
What frequency are you transmitting on?

[Brian Reynolds]

This might be the informaion you need…..
https://countryman.com/display.asp?catid=4&pid=75

[Brian Reynolds]

Is the video shoot for Broadcast or in house training?
Sennheiser / Shure are often regarded as BASE / Bottom level for Lav. mics.
Just remember that mics aren’t clever, they pickup air movement (sound)…. that’s what they do, go to a noisy environment they will pick up the wanted sound as well as the unwanted sounds.
Most mics will deliver good sound if they are used properly, fitted correctly, have adequate wind protection etc.
A bad mic used well, will deliver better results than the best mic used poorly, and like with ALL things in life ‘you get what you pay for’

[Brian Reynolds]

Motor Racing FX … there are 2 quite different philosophies on the subject, do you
1. move the mics to suit the camera view by attaching them to the camera so as the camera pans so do the mics?

OR
2. have fixed mics so the image passes on the screen, a bit like a window of a house.

Option 1. normally a little easier to set up as you are fixing them to the camera and using the camera audio lines back to the truck. Often the mic suggestions are a stereo mic like Shure VP88, Rode NT4, Sony M/S Electro Voice, Audio Technica or many other ‘Stereo’ mics or another option is short shot gun mics (ie 416) either side of the lens which offers some acoustic baffling between the mics.
The panning of the mics is like moving a human head where the main focal image is centralised, this method works very well for Street circuits where there are many acoustic reflections from buildings etc but gives an overall sound. This method is used standard on F1 coverage world wide.

Option 2. Using fixed mics that are using the camera audio lines but NOT being moved by the camera.
This sort of set up works well on open tracks because the lack of acoustic reflections.
With this method often mis matched mic pairs are used, for example an 816 for the entry and a 416 on the exit. The 2 mics may be many metres apart and mounted on ground spikes or on the camera scaffolding.
This method can give a very wide image with a ‘central’ dip in the sound that can be filled with other misc FX and commentary.

[Brian Reynolds]

Have to agree Peter,
I recently completed 10 episodes of a 1/2 hr children’s prank / reality show the directive from the production company was ALL tracks to be ISO recorded, with backups on the 3 main cameras (IE. cam 1 got track 1 / 2, Cam 2 got 3 /4, Cam 3 got tracks 5/6)
On the 16 channel hard disc recorder, 1-6 were ISO radio mics (with backups to the cameras)7-14 were ISO additional mics + ISO FX mics, 15 – 16 was a full ‘Hot’ stereo program mix. I wasn’t involved in the post production process.

That’s what they wanted… That’s what was delivered, and it sounded great on air.