[Craig Alan]

Your media files should be on a different drive than your system drive. Your media drive(s) should be backed up and wiped clean when they start to get full — never more than 80%. Your project files should be on your system drive and backed up — they are very small files. If you have been editing with media on your system drive then sooner than later your system drive will get corrupted and you can loose all your work. Plus you are slowing down your system and edits.

You should post what kind of system you have so people can help. You should buy an external raid for your media. You should buy an external drive to back up your system drive. If your media is important you should buy another drive to back up your media drive. One day this too shall pass but there is no absolute way to protect media or any data at this point so be sure to store it in more than one place.

Get carbon copy cloner for easy reliable back ups of your system drive and your media drive. It’s free and easy to use.

What type and size of media you are using will determine how fast a media drive/connection you need. Post details.

OSX 10.5.8; MacBookPro4,1 Intel Core 2 Duo 2.5 GHz MacPro4,1 2.66GHz 8 core 12gigs of ram. GPU: Nvidia Geoforce GT120 with Vram 512. OS X 10.6.x; Camcorders: Sony Z7U, Canon HV30/40, Sony vx2000/PD170; FCP 6 certified; write professionally for a variety of media; teach video production in L.A.

[Craig Alan]

How about something like this. I’ve used these and with some careful positioning of camera/talent you still get a natural look and talent is very comfortable. Fairly easy set up. safe and secure. You can use a reflector as a fill.

https://www.caravancanopy.com/classic.php

OSX 10.5.8; MacBookPro4,1 Intel Core 2 Duo 2.5 GHz MacPro4,1 2.66GHz 8 core 12gigs of ram. GPU: Nvidia Geoforce GT120 with Vram 512. OS X 10.6.x; Camcorders: Sony Z7U, Canon HV30/40, Sony vx2000/PD170; FCP 6 certified; write professionally for a variety of media; teach video production in L.A.

[Craig Alan]

Thanks Richard,

I did some more digging on my own:

1. The MixPre-D has no TA3 mini-XLR connectors for either input or output. At least from what I can see in the online photographs.

The Mixpre-D does
have TA3 output. The cable should work.

2. Unable to comment on your reported results because we don’t know how your cable was wired, and you don’t explain what “so so” means?

XLR adapters I’ve used add noise to the signal and don’t provide any control of the signal and have no way to monitor the sound. They also die within a year or so of use.

4. The MixPre-D does not appear to be powered from USB, so there does not appear to be any need for a powered USB hub. Unless you need it for some OTHER equipment?

Gotcha. Thanks.

5. The XL-CAM adapter appears to be adequate for a small camcorder. You Canon HV40 is approximately the same size and mass as a D-SLR. I would think about mounting the MixPre-D “sideways” to take advantage of the longer axis along the bottom of the camcorder, however.

Thanks.

Panning and tilting will have no affect on the audio unless the microphone is mounted ON the camera. But that has nothing to do with the MixPre-D. And mounting a microphone ON the camera is NEVER appropriate for decent sound recording.

No intention of camera mounting mike. My concern was that the wire from the mixpre to the camcorder would be pulled back and forth by tilting and panning. The miniplugs on these cams are fragile, the connection less than solid. But I guess some Velcro or gaffer’s tape for support will do the trick.

6. A quick review of the Sound Devices website reveals no particular way of linking the MixPre-D with the 302. If you need individual monitoring, etc. then you probably need a mixer solution with more features.

Actually the same TA3 will connect to the 302. There is an option on the 302 that allows for isolating each input. It will work if a bit of a learning curve.

7. No. The most interference-prone part of the chain is between the microphone and the mic preamp. That is the critical part that needs to be balanced.

Thanks!

NOTE: Using a mic preamp/mixer that costs almost as much as the camcorder will NOT automatically make the recorded audio great. Whatever benefit you get from the premium mic preamps and mixer will be significantly cancelled out by the lousy mic preamps in the camcorder. You cannot by pass the ultra-cheap mic preamps in the camcorder. You are stuck with them, no matter how gold-plated the previous part of the audio chain is. Any chain (audio included) is only as good as the weakest link.

While I agree for the most part that these cams are not capable of really good audio I do not agree that a good mixer and mikes do not significantly improve the recorded sound. By preamping the sound and controlling the levels the preamp of the camcorder can be kept at lower levels and therefore introduces less noise and distortion. Also being able to monitor the incoming signal you get better results. For this class of camcorder the HV40 has decent sound and some manual control. I agree that a separate recorder will do better. But these are for beginning students. Will use better gear for more advanced projects.

It would be rather like trying to “improve” cheap canned soup from the supermarket by serving it in a solid-gold chalice.

I would think it would be more akin to adding some chopped onions, olive oil, and fresh garlic to a supermarket tomato sauce. Or playing a really well recorded CD on an inexpensive stereo system.

However, we’ll see. I need some way to get XLR corded mikes hooked up to these cams. If the sound is still crap then down the road we’ll add recorders and sync in post. But by then maybe we’ll add better cams even for the beginners.

I had one class once where we had each team on Sony pd170s. The Sony’s had really bad sound for a prosumer cam. Mixers helped a lot.

Using a computer for recording production sound is typically awkward and fiddly and typically requires a dedicated sound recordist (separate from a boom operator) with his own equipment cart.

I’m not interested for the most part in using a computer for production sound but rather for voiceovers and post work. For higher end production we will be shooting with the 302s, Sony Z7Us and Pana P2 cams connected to a Ki Pro which records very nice sound but does not have particularly good meters.

OSX 10.5.8; MacBookPro4,1 Intel Core 2 Duo 2.5 GHz MacPro4,1 2.66GHz 8 core 12gigs of ram. GPU: Nvidia Geoforce GT120 with Vram 512. OS X 10.6.x; Camcorders: Sony Z7U, Canon HV30/40, Sony vx2000/PD170; FCP 6 certified; write professionally for a variety of media; teach video production in L.A.

[Craig Alan]

[Marco Falcone] “Oh my god, I don’t know, they are studio lights! I was just asking in general.

Find out. Write it down. Google them. Set them up. Learn what they do. Aim them at a reflector and see what they do. Be careful. Use sandbags and don’t touch them until they cool down. Wear gloves.

Hook your camcorder up to a monitor and put it in the hallway and take a look at the shot. Add some lighting if needed and experiment. If you are then stuck on how to create the effect you want — add dramatic shadows, add more light, make the space look bigger, more ominous, more massive, whatever, then post back with a sample shot and what you would like it to be.

If there was only one way to light a scene and it didn’t matter what lights were used, then all the pros on this forum would be training for new careers, this forum would no longer serve any purpose, producers would not need lighting designers, the gaffer would set up an all purpose studio light and that would be that.

OSX 10.5.8; MacBookPro4,1 Intel Core 2 Duo 2.5 GHz MacPro4,1 2.66GHz 8 core 12gigs of ram. GPU: Nvidia Geoforce GT120 with Vram 512. OS X 10.6.x; Camcorders: Sony Z7U, Canon HV30/40, Sony vx2000/PD170; FCP 6 certified; write professionally for a variety of media; teach video production in L.A.

[Craig Alan]

doesn’t sound right. if i had the cam in my hands I could probably figure out what’s wrong. Try the reset button to return to factory defaults and try manual mode again. Maybe the shutter speed is set so low that too much light is coming in? When you adjust the f-stop is it getting darker at all? gain low aperture small it should be underexposed.

OSX 10.5.8; MacBookPro4,1 Intel Core 2 Duo 2.5 GHz MacPro4,1 2.66GHz 8 core 12gigs of ram. GPU: Nvidia Geoforce GT120 with Vram 512. OS X 10.6.x; Camcorders: Sony Z7U, Canon HV30/40, Sony vx2000/PD170; FCP 6 certified; write professionally for a variety of media; teach video production in L.A.

[Craig Alan]

There’s a spring in there to one side that if you remove will most likely allow the inner door to open. Getting it to work after that depends on if anything got bent too badly. Try to find a working one to see how it all goes together. if you find an affordable repair place please post. The normal pro shops charge more than is worth it for this priced cam. I have a couple that need help.

OSX 10.5.8; MacBookPro4,1 Intel Core 2 Duo 2.5 GHz MacPro4,1 2.66GHz 8 core 12gigs of ram. GPU: Nvidia Geoforce GT120 with Vram 512. OS X 10.6.x; Camcorders: Sony Z7U, Canon HV30/40, Sony vx2000/PD170; FCP 6 certified; write professionally for a variety of media; teach video production in L.A.

[Craig Alan]

Be sure to test the set up before the shoot to make sure all is well. Can’t fix bad sound in post.

OSX 10.5.8; MacBookPro4,1 Intel Core 2 Duo 2.5 GHz MacPro4,1 2.66GHz 8 core 12gigs of ram. GPU: Nvidia Geoforce GT120 with Vram 512. OS X 10.6.x; Camcorders: Sony Z7U, Canon HV30/40, Sony vx2000/PD170; FCP 6 certified; write professionally for a variety of media; teach video production in L.A.

[Craig Alan]

Do the mikes have to be out of shot? You could have two pairs of talent share a wired handheld mike on stands. You could have all four on lavs wired to
https://www.bhphotovideo.com/c/product/650181-REG/Sound_Devices_552_552_Portable_5_Channel_Production.html.
Unless you plan this kind a shoot on a steady basis it might be cheaper to hire an audio tech with his/her own gear. Riding four channels of audio while also shooting is really hard. Speaking of which, how do you plan to shoot this? One camera on a wide shot? I suppose if it’s just a wide shot you can ride the levels. If it’s a multi-cam production, I can’t see riding audio levels and switching. If even one camera moves and reframes on the fly, no way can you also ride audio levels.

You’ll get more bang for your buck with wired lavs than wireless. Plus you might run into locations where the wireless has interference. Audio techs always have wired backups in case. You can add the wireless kits later.

If you do float mikes on stands above the talent, say two mikes between each pair then you need to train them to keep their heads pointed in the direction of the mikes. It won’t be ideal but you will hear the dialog. You can adjust the levels in post but at the price of quality.

OSX 10.5.8; MacBookPro4,1 Intel Core 2 Duo 2.5 GHz MacPro4,1 2.66GHz 8 core 12gigs of ram. GPU: Nvidia Geoforce GT120 with Vram 512. OS X 10.6.x; Camcorders: Sony Z7U, Canon HV30/40, Sony vx2000/PD170; FCP 6 certified; write professionally for a variety of media; teach video production in L.A.

[Craig Alan]

agreed. if updates come fast as this, all the third parties give it their best kiss, the quick different drummer will beat its way pro. apple dismissed their all star vet for an i-aged rookie still green and wet.

OSX 10.5.8; MacBookPro4,1 Intel Core 2 Duo 2.5 GHz MacPro4,1 2.66GHz 8 core 12gigs of ram. GPU: Nvidia Geoforce GT120 with Vram 512. OS X 10.6.x; Camcorders: Sony Z7U, Canon HV30/40, Sony vx2000/PD170; FCP 6 certified; write professionally for a variety of media; teach video production in L.A.

[Craig Alan]

good analogy: faster than the pros but not ready for prime time.

OSX 10.5.8; MacBookPro4,1 Intel Core 2 Duo 2.5 GHz MacPro4,1 2.66GHz 8 core 12gigs of ram. GPU: Nvidia Geoforce GT120 with Vram 512. OS X 10.6.x; Camcorders: Sony Z7U, Canon HV30/40, Sony vx2000/PD170; FCP 6 certified; write professionally for a variety of media; teach video production in L.A.