[David C jones]

The best success I’ve had is using the Sanken COS-11x mic with the rubber mount. I use Top Stick tape to secure it to the clothing. I did a “reality” shoot last year using this technique.

Dave J

[David C jones]

Hi David,

The frame rate has to do with timecode. If you’re syncing the camera via timecode, then the frame rates need to match (though, this isn’t always the case). If you’re not using timecode, the frame rate doesn’t matter as long as both [camera and recorder] are running in sync. If there’s no frame rate setting on your recorder, then it doesn’t have a timecode generator/reader built in.

Hope this helps!

Best,

Dave J

[David C jones]

Hi Noam,

Sound IS one of those fields where you get what you pay for; ie: a $500 mic is NOT a $1,000 one; there is a difference.

Before buying equipment, you might be better off hiring a sound person who already has their own stuff, and knows what they’re doing. This may, though, depend on how may days of shooting you have.

Running audio through a mixer will give you more control but, unless you’re doing all sit-down interviews, it may be hard to run a mixer and a camera at the same time. That said, I would recommend the Sound Devices 302 mixer, and the Sennheiser Evolution g3 wireless mics. Don’t get anything cheaper, in terms of the wireless mics. And don’t forget good headphones; Sony MDR-7506.

Best,

Dave J

[David C jones]

Hi Logan,

I echo all Ty has said. You can’t go wrong with anything from Sound Devices.

As a co-worker of mine says, “Good video + bad audio = bad video”. With sound, you really get what you pay for; don’t go cheap. Remember, you’re using a RED for picture so put as much quality into the sound. I would get the Sound Devices 302. Besides, you can always sell it after the project.

Best,

Dave J

[David C jones]

Hi Bob,

Some tips from the American Cinematographer Manual – GENERALLY speaking, you want direct sun light and blue sky; “low-angle, back-cross lighting”. Using ND filters and not correcting for exposure (causing under exposure) are also part of the technique.

You can read a more in one of the American Cinematorgrapher’s Manual.

Best,

Dave J

[David C jones]

Hi Galen,

I echo (all pun intended) everything Ty has said. I guess if the client’s happy, so be it. How important of a project is it? Who is seeing the final product?

As someone I know once said, “Good video + bad audio = bad video”.

Best,

Dave J

[David C jones]

Hi Rich,

What are you doing the recording for? Will it be used in a film/TV project, or something else?

For a general ambient bed, you might try using a stereo mic. It will give you a fuller, more realistic sound. However, if it’s for picture, it should have the same perspective as the image.

Best,

Dave J

[David C jones]

Hi Ed,

I don’t know if you caught the price of the 5212, but Sennheiser has it listed on their site at over 4k! I would suggest finding a used Lectrosonics package. There are plenty out there; look at places like Trew Audio, Location Sound, even Ebay.

Best,

Dave J

[David C jones]

Thanks everyone.

I also just wanted to make sure that if the final output was HDCAM 1080i, that the transfer to 23.98 from film shot at true 24fps wouldn’t cause some sort of “jerky” video issues.

Dave J

[David C jones]

Hi Jake,

I would echo what Jon said; the Sound Devices 552 is the only mixer/recorder combo, and IMO is your best bet.

If you go with just a mixer, you CAN run it into the 5D but I believe you’ll need this cable: https://www.trewaudio.com/store/product.php?productid=147&cat=21&page=1

I’ve never shot with the Canon 5D but based on what I’ve read about the latest firmware (which allows for manual control and records 48kHz/24bit), it should be as reliable as the video it takes. If you go with a seperate recorder, and you can’t afford a full-sized one, then rent.

Best,

Dave J