[Brian Reynolds]

Tim,
Line up the audio wave form to the first frame of video that has the clapper board fully closed.
Dont worry about subframes you will waste to much time even thinking about it, as you wont pick the difference in a moving video.
Often i use a double clapperboard one at the start and one at the end of the segment (with the board upside down) this then aligns the start and end with the video and therefore everything in between will be in sync, and that way you don’t have to watch the segment carefully for possible drift.

[Brian Reynolds]

All cameras will drift even just a little compared to other other cameras.
This is why timecode locked systems are used.
With your problem use the good sound as your progam sound and cut in the vision only from the other cameras when needed.
If you monitor the audio from the close up cameras and compare that to the good sound you should be able to cut it up ok.
But it going to take a LOT of work.

[Brian Reynolds]

Get hold of an FM transmitter (like you might use on an mp3 player so you can feed it into the car radio)
They are cheap, use the transmitter on the output of the mixer or camera, and the boom operator then monitors on a FM radio reciever.

A very simple setup 🙂

[Brian Reynolds]

Yes Ty.. this is why you boost the bad sound and not what you want to keep. The offending problem may be reduced sometimes 20db + this way, depends if it is in the voice frequencies or not.

This technique also works with studio consoles for getting rid of studio / room rumble.
On a parametric EQ boost the gain to +15db or max then sweep the FREQ & Q point to create the maxium problem…. then reduce the the EQ gain for your needs.
I have found this way to be far quicker and with far better results than cutting first and then trying to find the FREQ & Q point.

[Brian Reynolds]

I have previously used a different technique…..
Do a copy of the faulty track as a seperate track, and adjust the equalizer of the copied track to boost or make the fault as bad as you can.
Then reverse phase this boosted track and add it to the original.
I use Adobie Audition… in the effects section it is called “invert”
If they are in exact align the fault then cancels out, leaving a clean signal for editing into the program.
I have used this on many things from aeroplane, helicopter, race car and even radar noise with good results.

[Brian Reynolds]

While Ty is true and correct about impedance and level matching of the return signal, how many of us have checked the impedance of the camera we are using? (and wouldn’t different makes and models different anyway)
Ok.. we level match so we can switch at the mixer between send and return with similar level in the headphones.
Im just more concerned about that there is a signal being recorded and coming back than in an “impedance mismatch that could result in a change in frequency response”.

[Brian Reynolds]

Hi there, Print off a copy of the block diagram of the mixer
Follow the path back from the headphone o/p and use one of these inputs.
My suggestion is the 2TK return input/s with a feed from the camera.
Here is the link to the block diagram page then select the model of mixer.
I hope this helps…… Good luck

https://www.yamaha.com/yamahavgn/CDA/ContentDetail/ModelSeriesDetail/0,,CNTID%25253D558673%252526CTID%25253D227900%252526RLTID%25253D560%252526DETYP%25253DRELATION,00.html#

[Brian Reynolds]

These would be my personal picks and could be debated by others.
I have used many systems mainly in Outside Broadcast TV production and some location work.
All the systems had good locations and high gain antenna or /and boosters.
All in the UHF band

1. Lectrosonic Digital (recomend the use of lithium batteries)
The Lectrosonic system is VERY flexible with mics and plug in TX units
2. Sennheiser Diversity
3. Micron (location)
4. Lectrosonics analogue
5. Shure (possibly the best for hand mics / studio based system)
6. Sony Diversity
7. Sennheiser NON diversity
8. Audio Technica Diversity

I have not heard of the sabine system until your posting

I hope this is of some help…….

[Brian Reynolds]

I just tried on google “human voice frequency chart” and found a lot of interesting things….
maybe this might help
https://en.wikipedia.org/wiki/Voice_frequency
https://forums.dealnews.com/read.php?6,2462526,2467053

[Brian Reynolds]

Just go through and make sure that things are wired correctly, patch bays, cables, adaptors etc, you wont have to do everything just a few spot checks.. open the connector up and have a look.

I recently had a job in a theatre with hum in the system ALL the XLR-XLR leads were wired with the braid of the cable on pin 2 of the connector (on a tester they checked out fine) but caused MASIVE problems.