Frank Nolan
Forum Replies Created
-
I noticed from your other thread that you are using 2 wireless lavs and a boom. I would not recommend panning all 3 to the left and sending that to camera as you are then married to the mix of lavs and boom in post.
I would suggest panning the lavs to one side and the boom to the other and then sending the 2 channels to camera. If you then set up the zoom H4 the same way, then the onboard camera mic would not be needed, as you would have your back up on the zoom incase the wireless feeds to camera goes down.
This of course would require another wireless send to camera but IMHO keeping lavs and boom separate for selection in post is a much better idea.
The way you have it now if you get static on one of your wireless mics then the whole take is ruined. At least with separation you can use the boom channel if that happens. -
[Matt Shakespeare] “I’m using SD302 to record audio”
The SD302 is a mixer so it is not possible to record audio with it. You could use something like a Zoom H4.
-
I am going to play the devils advocate here and ask you this, Do you want to be a Filmmaker or an Audio guy?
I would say forget about buying any audio gear, as that’s what audio guys do. Now if you were going out to make documentary’s or shoot ENG interview type stuff this wouldn’t apply but if you are making a short dramatic/action piece in the hopes of moving on to bigger and better, full length features then I would suggest concentrating on STORY. Leave the audio capture up to someone that already has the gear and more importantly, knows how to use it. There are plenty of people willing to work for cheap to enhance their reels and if you have a great story and you prepare it well with story boards etc., you would have no trouble finding people willing to help out for a credit and a few dollars. Besides what would be the point of spending money on decent gear and then handing it off to someone to help or hold the boom, that has no idea what they are doing. You might as well stick with the onboard mic in that case.
Check at your school or other local colleges, I am sure there are people there that want a career in film sound, who may have access to decent equipment when you need it. If not the rental rate on student packages from even the big rental houses in Hollywood is very affordable.
Good luck with your project. -
On top of Eric’s suggestion for the shotgun I would look at just getting a wired lav, if it is for sit down interviews. You don’t really need a wireless system unless you are on the move during the interview.
-
You may want to check the drive at the finder level because chances are the QT files are actually in your capture scratch. You may just need to import them into the session.
-
Without knowing the EXACT audio chain it is hard to say with any certainty where the problem was, but the fault certainly lies with the “audio professionals” you hired.
In the case of the Me66, It could have been at the mic input to the mixer or from the mixer to the recording device. As for the lavs there is another 2 places it could have been. On the transmitter or the receiver.
Also depending on the mixer being used, it may be that it had a hard limiter on that was being slammed.
Unfortunately dealing with what you have is a bit like dealing with an overexposed shot. You can try and make it less bad but it will never be good.
The team at izotope have one of the better products on the market for helping with this kind of stuff. -
It is not totally clear from your post but are you saying you were monitoring the audio via headphones for the entire length of the interview or just the 1st part?
-
[Melina Kolb] “I shoot mostly hand-held, with the majority of content being interviews and events. I shoot documentaries and some journalism packages as well so being able to quickly get shots without too much setup is important. “
IMHO you would be making a huge mistake to go with a DSLR camera for your video work.
Hand held = bad
They are not designed to “quickly get shots without much set up” -
The piece you need is on the left in this picture
The flat piece connects to the camera where the battery normally goes and then the small plug goes into the charger.
This is for sale here -
Your problem could be due to the bit rate and sample rate of the original tape being at 12 bit and 32khz. If you captured via firewire and put it in a 16 bit 48 khz session you may need to render all the audio or better still do a batch convert to match the session settings