[David C jones]

Hi Nayeli-

According to my 702T manual, 48.048kF will only work with 30ND. It’s used when film is being shot at 24fps and transferred to NTSC.

23.976 (or 23.98) is the real frame rate that an HD camera is recording when it says 24fps. As I understand it, if you are working with an HD camera shooting at 24fps, you want to be recording at 23.98…the REAL frame rate of the camera. 24fps is ONLY used when you are shooting film and finishing on film (for projection). In other words, not for HD transfer for television.

Of course, you should ALWAYS check with the post-house or at least the producer as to what you should set your frame rate and frequency to. NEVER second guess them after-the-fact, because you don’t really know how they plan on using your recordings. Plus, if they tell you wrong, it’s not your fault.

Hopefully some of this helps :o)

Dave J

[David C jones]

Actually, you’re right, the 20″ stand is too short. There is a 30″ C-Stand that would be a good height. You want to get a C-Stand with a base that detaches. The only other thing you need, to use it with a boom pole, is a 2 1/2″ grip head. Then you clamp the boommate into it. There are a lot of other things you can get for it. But there’s nothing else you need to use it with a boom pole, though you may want to sandbag the base.

[David C jones]

Hi Tim

First, the reason you see sound guys/gals capturing sound with boom poles is because, one, not everyone may be wearing a lav mic, and two, (generally speaking) boom mics give better sound than lavs.

Lavs are a better choice if you can’t get a boom mic in close enough to capture good sound or if you’re one-man-banding and can’t shoot and boom at the same time. There may be other situations when a lav would be a better choice but those are a couple.

In terms of using a C-Stand/boommate, this is the set-up I use; I’m not sure a light stand or mic stand would be stable enough to use a boom pole with. Boom poles with shockmounts and mics attached can be very front-heavy and need a heavy-duty stand like a C-Stand to hold them. C-stands are available in smaller sizes than the standard 40″. Maybe try a 20″ one.

Regards,
Dave J

[David C jones]

I would trouble shoot it. Take the cable you were using and check it out with the camera you were using. Wiggle the connectors while listing with headphones and see if you can recreate it. Last year I bought two brand new 50′ XLR cables and they were both bad. The manufacture replaced them free of charge. Even new cables can have problems.

[David C jones]

Hi Philip-

It “sounds” like there are two things causing that noise: one is something rubbing against the windscreen (though, you said nothing was). The second sounds like ether a bad/loose connection or a problem with the cable (or just a bad cable). Whatever it is, I believe it’s with the cable or mic/cable/connection.

I’m not sure you can filter it out but I’m not an expert in post-sound production so, maybe someone else here can help with that.

Regards,
Dave J

[David C jones]

I have not used the Azden 325ULT but I did go on their website to look at some of the specs. Though it’s a nice price for all that you get with it, there are a few things things that trouble me about it: first, the RF power in the transmitters is 25mW compaired to 35mW Audio Technica, 50mW & 100mW with Lectrosonics. Depending on what you’re shooting, this may not matter. The receiver is non-diversity (which is a big deal when it comes to reception); and the freq. response is 50-15K.

Again, the problems you’re having still might not get fixed with a different system; it really depends on the enviroment your’re working in.

[David C jones]

Hi Shaun

The only dual system that falls within that price range is the Audio Technica 1800 series. Lectrosonics, Sony, and Zaxcom all have dual systems as well, but will cost ALOT more.

Your problem may not be with your system but with where you are using it. Different things can be causing your mic to cut out. Even the best systems can have reception issues.

Dave J

[David C jones]

Did you shoot 720psf with the JVC camera? If not, I wouldn’t start. What frame rate is the “already shot” footage? As far as I can tell, the EX1 will only do 1080psf @ 29.97 and 25 (not 24 or 23.98).

I’ve never used PsF, and from what little I know about it I don’t see why you need to use it unless you’re dealing with older CRTs. But maybe someone who knows more about this will post here :o)

If it were me making your film, I’d shoot 1080@24p.

[David C jones]

Hi Brian

I agree with Michael, shoot with the best format the camera has to offer. Esp. since you’re looking at showing your project at a film festival where it’ll most likely get projected on a big screen; bigger [format] is always better (for that venue).

Regards,
Dave J

[David C jones]

Hi Rasmus,

You’ll probably get as many answers as there are cinematorgaphers, but here’s a good starting point:

Set resolution at 1080 and speed at 24p.
Set the shutter ANGLE at 180 degrees.
Set gain at 0dB. You might try -3dB.
Select CINE 1 for picture profile.

Regards,
Dave