Craig Alan
Forum Replies Created
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This is very hard to diagnose from even a detailed description. Audio is a chain and any component of the chain can add noise. To isolate the problem you need to swap out each variable to see if it corrects the problem.
Try a different mike. Try a different interconnect .My experience with the mixer is that it is underpowered. Better when providing phantom than dynamic mikes. But I understand why you are setting gain at 100%. I find that SD mixers generally are very quiet and boosting the gain doesn’t usually add noticeable noise. If you posted a sample I think it would be easier for anyone trying to tell you if it was a defective unit would have a better understanding of how much hiss is in the signal. Ive had trouble with that mike as well. The way it screws apart and can create problems in certain units.
Are you shooting indoors or out? Cause for indoors I prefer the Audio-Technica Hypercardioid Condenser Microphones.
Mac Pro, macbook pro, Imacs (i7); Canon 5D Mark III/70D, Panasonic AG-HPX170/AG-HPX250P, Canon HV40, Sony Z7U/VX2000/PD170; FCP 6 certified; FCP X write professionally for a variety of media; teach video production in L.A.
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Don’t think a cinema camera like the ursa is the right choice for this application. Try an ENG cam. Do you really want footage you need to grade and for the most part manually focus and expensive media with limited amount of shooting time and large file sizes in post? Do you really need the swap out lenses?
Mac Pro, macbook pro, Imacs (i7); Canon 5D Mark III/70D, Panasonic AG-HPX170/AG-HPX250P, Canon HV40, Sony Z7U/VX2000/PD170; FCP 6 certified; FCP X write professionally for a variety of media; teach video production in L.A.
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Have you used this chain before with 2 receivers into the Beachtek out to the camera?
I’d try going straight to the camera’s XLRs. Get one device out of the chain.
Its been a while, but a lot of problems for me got solved when I moved away from adapters and even underpowered small mixers and got a SD 302. Even SD mixpreD was underpowered for dynamic mikes in particular.
I would try isolating each variable until the problem is solved.
Low power is a possibility.
Try brand new AA non-rechargeables. Make sure there is no acid build up in devices.
Try different interconnects including the ones that come with the G3.
Check your play back settings in your NLE – try variations of mono and stereo and see if anything gets good playback. Maybe the beachtek is premixing the signal?
It could also be intermittent interference.
Try a different location and/or
different frequency maybe even a different bank.
Camera issue: Try going hard wired and see if that solves the problem.
Any part of an audio chain can screw up sound.
List your full chain for the pros here:
Type of mike, mixer, each devices settings, recorder, camera.
Audio is the hardest part to get decent.
Once it’s decent then yeah its also an artistic craft like lighting.
But only audio will screw up a shoot completely.
Mac Pro, macbook pro, Imacs (i7); Canon 5D Mark III/70D, Panasonic AG-HPX170/AG-HPX250P, Canon HV40, Sony Z7U/VX2000/PD170; FCP 6 certified; FCP X write professionally for a variety of media; teach video production in L.A.
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or or even better quality and more $$$ read through this:
https://forums.creativecow.net/thread/30/865231#869152.
A good mixer is also important as is an audio tech and boom operator
https://www.bhphotovideo.com/c/search?N=10292980&InitialSearch=yes&sts=pi
Mac Pro, macbook pro, Imacs (i7); Canon 5D Mark III/70D, Panasonic AG-HPX170/AG-HPX250P, Canon HV40, Sony Z7U/VX2000/PD170; FCP 6 certified; FCP X write professionally for a variety of media; teach video production in L.A.
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Thanks Bill, interesting idea but I was hoping to not do this in post. The shot i posted, the projector was actually the key light and the b.g. And the photo projected had soft colors. But on other shots, the pixels, at this width, were quite obvious and washed out looking. If I moved closer than yes i was able tighten the pixels and I could with an additional light get an image similar to what you posted. But I was going for a different look. The concept was that the character was part of the environment. And yes I’ve done this before with layers and adjusting opacity and using masking and so forth. But I’d really like to set some one in this environment and shoot stills at different focal width/length I would use for any photo shoot. I loved my kodak projector back in the 35mm days. Beautiful wash of color. I’m going to bring one in with some old slides and see what the reality is using this. If it works I just might get a canon film cam that can use my EF lenses.
Anyway I appreciate your input. Fun stuff.
Mac Pro, macbook pro, Imacs (i7); Canon 5D Mark III/70D, Panasonic AG-HPX170/AG-HPX250P, Canon HV40, Sony Z7U/VX2000/PD170; FCP 6 certified; FCP X write professionally for a variety of media; teach video production in L.A.
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[Bill Davis] “inverse square principal. So it can be moved closer or farther from the subject to increase or decrease the relative brightness of the projected image. “
I am concerned here with two other factors, other than brightness. One is the width of the projected image – I’m trying to get a wide image, a landscape to place my talent in. And my other concern is the image looking like a grid of pixels rather than a wash of light.
Here’s an example.
Mac Pro, macbook pro, Imacs (i7); Canon 5D Mark III/70D, Panasonic AG-HPX170/AG-HPX250P, Canon HV40, Sony Z7U/VX2000/PD170; FCP 6 certified; FCP X write professionally for a variety of media; teach video production in L.A.
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Cool shot, Bill. If I put the projector close to the subject and or B.G. then the resolution of the projector obviously plays better. It’s when I try project onto a large portion of the CYC that I start to notice the lines and little boxes of pixels. Here you have a little spill on the B.G. but mostly on the subject. How far about was your cam from the subject and then how far from the subject was the b.g.? Here the b.g. is mostly black so I assume the projector was close to subject and subject far from B.G.? And then did you use another light on talent? Or the projector was the only light source?
Mac Pro, macbook pro, Imacs (i7); Canon 5D Mark III/70D, Panasonic AG-HPX170/AG-HPX250P, Canon HV40, Sony Z7U/VX2000/PD170; FCP 6 certified; FCP X write professionally for a variety of media; teach video production in L.A.
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We shoot with P2 cams and FCP X reads the files natively and doesn’t have any problems with them. When X first came out I needed to use the Panasonic reader to convert the footage. But then Apple added P2 support. I see no difference if I check optimize or not.
Mac Pro, macbook pro, Imacs (i7); Canon 5D Mark III/70D, Panasonic AG-HPX170/AG-HPX250P, Canon HV40, Sony Z7U/VX2000/PD170; FCP 6 certified; FCP X write professionally for a variety of media; teach video production in L.A.
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Not sure this is the same as you are describing but I once had P2 footage become corrupt and I tried to reimport into FCP X from the card copy and X couldn’t read the card copy. So I copied the card files back onto a P2 card. I put the card back in a P2 cam. The camera had an error message that (can’t remember the wording but the bottom line was it wasn’t wrapped properly). I opened it in the playback mode on the camera. It then got rewrapped to P2 standard. I then put the card back in the mac and everything relinked perfectly.
Mac Pro, macbook pro, Imacs (i7); Canon 5D Mark III/70D, Panasonic AG-HPX170/AG-HPX250P, Canon HV40, Sony Z7U/VX2000/PD170; FCP 6 certified; FCP X write professionally for a variety of media; teach video production in L.A.
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I’ve never had to do this but can you use just the the project file and copies of the original card folders to recreate a project in FCP X?
Mac Pro, macbook pro, Imacs (i7); Canon 5D Mark III/70D, Panasonic AG-HPX170/AG-HPX250P, Canon HV40, Sony Z7U/VX2000/PD170; FCP 6 certified; FCP X write professionally for a variety of media; teach video production in L.A.
