[Craig Alan]

Why is Camtasia in the mix at all? Do you have a before it gets messed up sample? Isn’t camtasia recording your computer output in who knows what codec? Does Camtasia give you any audio options? I mean if it sounded fine why mess with it on a cheap editing program meant, I think, primary for screen capture.

Mac Pro, macbook pro, Imacs (i7); Camcorders: Panasonic AG-HPX170/AG-HPX250P, Canon HV30/40, Sony Z7U, VX2000, PD170; FCP 6 certified; write professionally for a variety of media; teach video production in L.A.

[Craig Alan]

Electro Voice RE50

Sennheiser MD46 – Cardioid Handheld Dynamic ENG Microphone

Shure SM58

Sennheiser E825S – Cardioid Handheld Dynamic Vocal Microphone with Switch

Basically ENG mikes. For interviews, instructionals, voice over’s, performances on a mike stand, and for rugged mikes to start learning audio in production teams. Then we move on to wireless countrymen and hyper cardioids on booms. Mostly we use the SD 302 when we are using the studio for higher-level productions. The RE50s were a bust – Too Omni directional in a crowded multi-team studio with different productions happening at once. The MD46 is my favorite ENG for interviews. Nice long reach and good sound. The senn 825 are rugged and a good learner mike but very dependent on the talent’s proper use. Off access and the sound drops way off. Thus I thought the RE50 Omni would be an improvement but didn’t work out. I like the Shures for performances – singers mostly or instructionals, news reports. Anything on a mike stand. We also have the instrument version. Forget the model number.

Getting back to the mix pre-D. Basically with a talent who does not project, I just would like the mixer to have higher gain at 12 o’clock. Again, with a combination of adjusting the calibration and teaching the talent to keep the mike closer and aimed correctly you can definitely get decent sound. Don’t like leaving good levels to post when capturing sound on a consumer level camcorder. With our better cams and hypercardoids the sound is cleaner and adjusting in post is more successful. The best sound I’ve been able to record is with the SD 302 and Ki Pro as recorder (thought the meters and headphone output is pretty poor). I’d love to get the SD mixer/recorder.

Mac Pro, macbook pro, Imacs (i7); Camcorders: Panasonic AG-HPX170/AG-HPX250P, Canon HV30/40, Sony Z7U, VX2000, PD170; FCP 6 certified; write professionally for a variety of media; teach video production in L.A.

[Craig Alan]

Have you used dynamic mikes with the mix pre-D? Different results?

The dynamic mikes are audible but to get them to a good level like +8 (on the Mix pre-D meter) and above, the gain control needs to be pushed to 3 or 4 o’clock depending on the talent. The phantom power from the mixer works fine and with more sensitive mikes we don’t have this problem. There is nothing wrong with our less sensitive mikes. I spoke to Sound Devices support and they are aware that the mix pre-D could use a more ‘powerful’ pre-amplifier. Maybe I’m using the word “power” incorrectly but my experience with the mix pre-d is extensive. I know Sound Devices confirmed my experience with less sensitive mikes. For an average talent, I should be able to get in the positive range with the input gain controls at about 12 o’clock. That gives us room both higher and lower to make adjustments. If I start at 3 or 4 o’clock there is not much room to play. That said, I do not hear distortion or excess hum or noise at this setting. I also have the option to recalibrate the camera gain so that the 0 tone on the mixer reads slightly higher than -12 on the camera rather than -12 or lower (which I prefer).

Mac Pro, macbook pro, Imacs (i7); Camcorders: Panasonic AG-HPX170/AG-HPX250P, Canon HV30/40, Sony Z7U, VX2000, PD170; FCP 6 certified; write professionally for a variety of media; teach video production in L.A.

[Craig Alan]

strongly rec. doing sound tests in advance of event. work out the kinks before it matters.

Mac Pro, macbook pro, Imacs (i7); Camcorders: Panasonic AG-HPX170/AG-HPX250P, Canon HV30/40, Sony Z7U, VX2000, PD170; FCP 6 certified; write professionally for a variety of media; teach video production in L.A.

[Craig Alan]

Great Post, Bill. Thanks.

Quick follow up question:

“85% of them imported directly into X just fine-”

so what did you choose in FCP X’s import dialog window?

Optimize or original or … ? You are suggesting original, right?

Mac Pro, macbook pro, Imacs (i7); Camcorders: Panasonic AG-HPX170/AG-HPX250P, Canon HV30/40, Sony Z7U, VX2000, PD170; FCP 6 certified; write professionally for a variety of media; teach video production in L.A.

[Craig Alan]

iF you are wide open with a narrow depth of field then I could see the follow focus allowing for easier rack focus control, focus corrections and less chance of unwanted cam movement. You are mounted on a tripod?

Mac Pro, macbook pro, Imacs (i7); Camcorders: Panasonic AG-HPX170/AG-HPX250P, Canon HV30/40, Sony Z7U, VX2000, PD170; FCP 6 certified; write professionally for a variety of media; teach video production in L.A.

[Craig Alan]

Not sure you are getting the point. You want something to monitor your sound, what you hear is what you capture, not something that will sound good in a side by side comparison. Take Ty’s advice. I actually wear a pair of Senn’s when I’m editing but switch to the Sony’s when I’m editing sound. And I always wear the Sony’s when I’m filming. Handling noise is usually caused by a bad connection – either the headphone jack or plug. Or tangled up interconnects. But what you need to hear is any mike or xlr or reception handling noise and any b.g. noise and any buzz or interference, or or or. That needs to be addressed. And post is too late. Seriously, the audio forum is one of the most consistently informative sites on the net. You can get wildly different opinions by very talented people in other forums. And I’m not saying there isn’t a part of good sound acquisition that is more art than craft. But for many shoots, you just want good clean sound without serious flaws. And the leaders on this forum have years of experience and are generous in sharing what they have learned. More shoots are ruined by audio problems than visual problems. Get one of the headphones Ty suggests and buy another pair for your listening pleasure.

Mac Pro, macbook pro, Imacs (i7); Camcorders: Panasonic AG-HPX170/AG-HPX250P, Canon HV30/40, Sony Z7U, VX2000, PD170; FCP 6 certified; write professionally for a variety of media; teach video production in L.A.

[Craig Alan]

I have the Sony’s and if I were to buy today I’d get the ATH-M50S That’s S for straight cable. I hate the coiled cable. Doesn’t store well and gets tangled with anything it touches. And the coil over time gets less tight defeating the only advantage it has. My only other gripe with the Sony’s is the ear pads are a bit too small for my head. But what you hear is what you get. Many phones sound better because they sweeten the sound. Not what you want for monitoring.

Mac Pro, macbook pro, Imacs (i7); Camcorders: Panasonic AG-HPX170/AG-HPX250P, Canon HV30/40, Sony Z7U, VX2000, PD170; FCP 6 certified; write professionally for a variety of media; teach video production in L.A.

[Craig Alan]

https://www.leefilters.com/lighting/diffusion-list.html

interactive cool Diffusion Index page.

Mac Pro, macbook pro, Imacs (i7); Camcorders: Panasonic AG-HPX170/AG-HPX250P, Canon HV30/40, Sony Z7U, VX2000, PD170; FCP 6 certified; write professionally for a variety of media; teach video production in L.A.

[Craig Alan]

Having taken Ty’s advice a while back I have used all three:
the senn’s (I inherited from the guy who ran the studio I teach in before me);
the Schoeps; and the ATs.
The Schoeps I use when we are doing one production with a small group and it feels ultra disciplined. Best sound of the bunch but expensive. And I only have one. came in this wooden box like it was a collector’s item and I treat it that way. If you can afford it, get it.
The AT’s are my go-to hypers. Never disappoints. The Senns I use for beginners. Since what you discribe feels like somewhat trying circumstances, I’d go with the AT’s. They are small, solid build, easy to manage, a great deal for their price. As well as a wind fussy, get a high quality shock mount like RYCOTE INV-HG Lyre Shockmount (41118). And if interference is not a factor, I’d use a butt plug transmitter on the mike. Now you have a very discrete small form factor that might be less threatening than a long shot gun and xlr cord. Ty is correct that 2 feet is way better than 3 because the mike is sensitive and will pick up all sorts of background noise; but the closer to your subject, the more the voice of your subject dominates. The sound quality is very good, Another factor is how well the mike is aimed at the subject. Wear headphones and have the boom pole operator wear headphones and their own headphone amp. Not sure how 2 feet is a threat but 3 feet is ok?

Mac Pro, macbook pro, Imacs (i7); Camcorders: Panasonic AG-HPX170/AG-HPX250P, Canon HV30/40, Sony Z7U, VX2000, PD170; FCP 6 certified; write professionally for a variety of media; teach video production in L.A.