[Douglas Spotted eagle]

We did field V/O for ESPN using an AT 897 (Didn’t know we were going to do field V/O, or I’d have brought a different selection, but the 897 sounded great, and surprised the producer that it was done in an airplane hangar using a garbage bin and moving blankets.
🙂
I’d have carried an AT 4073 with me, or a Senn 416, both of which are exceptionally common for V/O work.

I’ve never heard of anyone using a shotgun for VO – that type of mic is really not designed for that type of work.

I hate to sound condescending, but such a statement is absurd.
Shotguns (even cheap shotguns) are perfectly designed for voice-over work unless you’re in small, highly reflective rooms. Even then, they can be managed very, very well. Michael Mason, a top recordist of hundreds (if not thousands) of theatrical trailers and documentary pieces, uses Senn 416’s almost exclusively, with a heavy lean to the 416. Many cartoon voices for “Barnyard Animals” (Posted by Lance Bachelder, who frequents this forum a lot) were recorded using shotguns. High rejection, warm and rich, and low self-noise in the quality mics make some shotguns ideal for voice-over, whether you’ve “heard of them or not.”
My own productions (a couple of Emmy’s and Grammy’s in there) have almost always used shotguns for V/O. For “The Way West” James Earl Jones was recorded with an AT 4073. In Harlan Hogan’s “Voice Over Success” training DVD, you can hear the differences between side address large diaphragms, shotguns, and the more “common” mics. I also demonstrate this in my “Now Hear This” training DVDs.
Google “Recording Voice-overs +shotgun mic” or “mike” and see the hundreds of responses you’ll find.
Or, check out places that specialize in V/O tools, such as The V/O store. To quote one of their columns:
On the West Coast the Sennheiser-416 is “The Choice” of more Voice Over Recording Studios and Engineers than any other Mic in the world. This short shotgun Mic is a great all-around performer for Home Studios as well as large professional recording studios due to its directional sensitivity, high consonant articulation and excellent feedback rejection. Sennheiser’s MKH-416-P48U3 is the right choice when you’re voicing jobs weekly or hope to be doing so in the near future.

It’s amazing the prejudices for/against mics that some folks seem to develop based on reading from the web.
Get out and try this stuff for yourself. it’s not hard, and it’s kinda fun.

Douglas Spotted Eagle
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[Douglas Spotted eagle]

In the area above or below the keyframes, you can drag/select the keyframes (they’ll look like targets/circle around keyframes). Drag them to wherever you’d like.

Douglas Spotted Eagle
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[Douglas Spotted eagle]

But I wouldn’t use a shotgun for VO you need a large diaphragm mic.
No, you do not need a large diaphragm mic.
In fact, I’d venture to say that for “average” uses, the shotgun mic is more used for V/O than large diaphragms.
Harlan Hogan, one of the most successful V/O artists in the world, regularly uses a shotgun both in his Whisper room and in portable rigs. He carries his own.

Large diaphragms have their place, but many think that because large diaphragms are used in radio, they must also be used for V/O. This simply isn’t so.

Douglas Spotted Eagle
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[Douglas Spotted eagle]

Simply tell Vegas to replace the original ProShow file with the new ProShow file in the Project Media tab, in the original Vegas project. All the keyframing you did in the original project will then apply to the new ProShow file; you’ll probably have to tweak a few depending on what you changed overall.

Douglas Spotted Eagle
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[Douglas Spotted eagle]

Audio Technica AT 897. Shotgun that sounds rich/thick like an RE20, but can also be used in production environments. Shotguns are frequently used for voiceovers, because of the rich sound that can be achieved at 4″-8″ from corner of the mouth.

Douglas Spotted Eagle
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[Douglas Spotted eagle]

have you chosen that driver set in the Vegas Options|Preferences|Audio tab? Haven’t ever seen this message, so not sure what to suggest, it’s a shot in the dark.

Douglas Spotted Eagle
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[Douglas Spotted eagle]

That would be dropping the Timecode filter on the Preview window, so it shows throughout the project. then timecode will play throughout

Douglas Spotted Eagle
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[Douglas Spotted eagle]

Understood, thank you for the clarification. I took your post as to mean that Canon -acquired tape and Sony decks don’t mix. They do, yet LP mode is problematic even when it’s Sony cam/Sony deck sometimes. LP simply is a PITA no matter how you slice it. It’s like 32k/4 channel audio. Shouldn’t be on cameras that are potentially being used for professional purposes, IMO.

Douglas Spotted Eagle
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[Douglas Spotted eagle]

Doug, as Edward mentions, using the same model (and often the same camera-only) will clear this sort of issue. LP is a real problem in some workflows.

Mahesh, could you elaborate? Been using Canon cameras/acquisition and Sony decks/capture for years. Until the Z1 came out, we’d never owned a small-format Sony camera.

Douglas Spotted Eagle
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[Douglas Spotted eagle]

First, why not just use Raylight to bring in the 24pN content? Would save you a *lot* of grief.
Second, are you resampling? Shouldn’t be in this case.
Third, how did you insert the pulldown?
Do you want to keep this progressive or not?
Sounds like you’ve inverted fields somewhere along the way.

Douglas Spotted Eagle
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