[David C jones]

Hi Adam-

I haven’t used the 170, but I’ve been a news shooter for the past 15 years. In those conditions, the only thing you can do is gain up! AND, crank open the iris. Sometimes it’s not as bad as you would think. Other times, even that doesn’t work. In any case, when it comes to ENG, anything is better than nothing :o)

Regards,
Dave J

[David C jones]

Hi Daan-

I’ve used the EX1; here’s how I suggest:

plug mixer into the XLR inputs and set to ext/mic & manual (put it on auto if you can’t monitor camera).

send tone from your mixer and adjust the camera levels until the meters are at -20. There is a meter with numbers on the ex1 in the “Audio Status” screen (pg. 90 in the manual). Push the status button on top of the camera and cycle to the “audio status” screen to see it (should be the second screen).

Also, make sure the trim setting is at -41dB; this is the factory default setting for mic level and should already be set, but double check.

AND, monitor the camera with headphones. Just because the levels look right, doesn’t mean you’re not getting distorted audio.

Regards,
Dave

[David C jones]

As with all cameras, there are always trade-offs. With the 300, it’s the 1/3″ chips in exchange for being full-raster 1920X1080 HD. The 500 is a 2/3″ chip, but, the chips are only 960X720, using pixel shifting. But as to which one actually gives a better picture, that’s a good question…

Dave J

[David C jones]

Hi Carlos-

Something to think about before taking the plunge:

I recently read in TV Technology that NBC-Universal is offically adopting the P2 format for all ENG stuff at their O&O’s, CNBC, and Telemundo. AND, according to the article, CNBC is already shooting with the 2000, and that many of their O&O’s have put in orders for the 300, and HPX 170…the 500 was never mentioned.

Dave J

[David C jones]

Again, what are you planning on recording? This can make a big difference in what gear you might want to get. I have the 702T because I needed timecode for double-system. In my opinion, if you’re doing ANYTHING with video/film, timecode can be a big help. If you’re just recording “wild sound” or music, or anything where syncing it to picture isn’t needed, then a non-timecode recorder is fine.

As far as a mixer goes, I agree with Ty that you need something. Those volume knobs on the recorder are not really designed (or meant) to be ridden like faders on a mixer. You might try looking for a used mixer on some of the audio store websites or even ebay. I also agree with the equipment list Ty recommended.

Regards,
Dave J

[David C jones]

Hi Eric-

What are planning on using the 702 for? What’s your budget? Money no object?

Need a little more info be recommendations can be made :o)

Regards,
Dave

[David C jones]

The Sennheiser Evolution 100 series is very popular. It’s about $600. The Lectrosonics 100 is more at about $1,350. But it’s much more rugged and might be more sutable for hazardous conditions.

Hope this helps :o)

Dave J

[David C jones]

Make sure that “those in charge” want the lavs split that way.

In terms of the camera, run mic-out of the mixer to mic-in on the camera. Send a 1k tone from the mixer to the camera and adjust the levels on the camera to…well…it depends on the camera you’re using :o) Probably -20dB.

As far as levels from the mics, this might depend on who you ask. Usually the loudest levels should peak at -20dB, but I tend to ride them much hotter; I keep the average peaks at -20. BUT, MAKE SURE THE LIMITER IS ENGADGED ON THE MIXER. And make sure someone (if not you) is listening to what’s being recorded in the camera. Just because the levels look right, doesn’t mean you’re not recording distorted audio.

Hopefully this helps

Dave J

[David C jones]

Hi Will-

Make sure everything is turned on. Just kidding :oP

What do you mean by usable format? Are you referring to the splitting or mixing of tracks?

Dave J

[David C jones]

Hi Scott and welcome to the cow forum (copyright) Ty Ford :o)

What mics are being used now, and how are they being used? Or is it just a built-in mic on the camera?

In any case, instead of an external audio recorder, I would go with a wireless system. Wireless beltback transmitter with a lav mic for the subject, and a receiver mounted on the camera.

Regards,
Dave J