[David C jones]

You can independently control channels 3/4 (volume, pads, etc.) on newer cameras, but there are still only two mic inputs in the rear (one in the front). The idea is to do stereo recordings, or have backup tracks. The 900 actually records 8 tracks. There are really a lot of options on these cameras, but you have to be willing to have some things mixed.

As far as having more than two independent tracks, you need to use an audio hard drive recorder (like the Deva 5.9, Fostex PD-6, HHB Portadrive or Sound Devices 744T) all of which have at least 4 tracks and timecode; run all your mics into seperate inputs, and then jam sync timecode from the camera to the audio recorder (via Comtek wireless). Then you sync up the audio in post. This is how it’s done in Hollywood, anyway.

[David C jones]

That’s actually the first adaptor like that, I’ve ever seen! And I’ve used or am familiar with all Panasonic and Sony cameras. Most new Panasonic/Sony cameras now have the ability to control (independently) all four channels, which is nice. I checked Panasonic’s website and couldn’t find anything like that. My only suggestion is to try Ebay or The Broadcast Store (on-line). There’s got to be someone out there trying to unload one.

[David C jones]

I know Sony never did. The only camera/deck that had four inputs was the BVV-5 Betacam SP dockable deck. All their one-piece cameras only had two inputs (but recorded to four audio tracks). That setup you have looks like it would be extremely back heavy.

[David C jones]

This is one of those issues I (as a production sound mixer, and not a sound renforcement guy) have had to deal with all to often. Anyway, if the source you’re getting from the house feed is from microphones, then the house feed (to you) should be a mic level. If it’s not, see if it can be changed (from the house board). If it can’t, then set your mixer to line level; you shouldn’t need to insert a pad from the house feed, if it’s set up correctly. I don’t know what model mixer you have, but it should have pads built into it that you can switch between (usually 0 or no pad, -10 and -20).

[David C jones]

Maybe I mis-read your discription of the setup, but it seems like you’re mixing line and mic levels. In the setup you’ve described, nothing, anywhere, should be set to line level. It sounds like the mixer was set to line level instead of mic; that would cause the boom mic to sound distorted when used with the mixer.

[David C jones]

Are you planning on using it mounted on the camera? If so, then here are a couple of thoughts:

First, unless you’re always going to be two feet away from your subject, on-camera shotgun mics are really only good for picking up ambient sound. So, if you’re planning on getting good dialog or speech of any kind, you’ll need to go wireless or hire a sound mixer/boom operator :o)

Second, for the EX-1, I would recommend the Sony ECM-673. It’s the shortest, one of the lightest, and one of the least expensive ones out there. It’s also been sold out at B&H for months, though. The other mic you might look at is the Rode NTG-1. It’s about an inch longer but around the same price as the sony ($269.95). Remember, these mics are only really made to capture ambient sound and not clear dialog or speech. And, anything longer might stick into the frame on wide shots.

[David C jones]

I have these same units; I use the professional duracells, mostly because they’re less expensive than buying 9V’s sold in retail stores. I would recommend looking at the rechargeable iPower Lithium Polymer batteries. I know Trew Audio has them, as well as a write up about them. Larry Fisher, President of Lectrosonics likes them, too. For $87.00 you get 4 batteries and a 4 bay charger.

[David C jones]

Yeah, that’s true..a 180 degree shutter angle exposes 1/48 ;O) It’s possible though, by changing the shutter angle, as opposed to the shutter speed, you’ll get a smoother look (though, again, I’m not sure how…lol). It seems to be the general consensus on here, that if you want a “real” film look, you should shoot at 30p instead of 24p. As I don’t have my EX-1 yet, you’ll have to let me know how it’s going :o)

[David C jones]

It’s been suggested on several posts that shooting at 30p instead of 24p will smooth it out. Also, as someone from a film background, I would try increasing the shutter angle (not speed) to 90 or more. Us film guys usually use shutter angles of 171 or 180.

[David C jones]

Thanks for all the info on this issue. It does seem to me that problems with floresent lighting could be taken care of through different shutter settings (or Clearscan?) As someone who comes from a film background, I love the fact that this camera has the ability to adjust the shutter angle! The only other camera out there that can, is the Panasonic 3000 (also the only other camera that shoots full-raster, at least until you get into the high-end Sonys/Arri/Red). Can’t wait to get my hands on one :o)