Frank Nolan
Forum Replies Created
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[Bob Cole] “But you’re right, there are no solutions. And if you’re hiding the mic, then any problem with audio will be considered your fault, even though the real reason is that you’re working with uncooperative talent.”
There is ALWAYS a solution. I dont see why this should be turned into a “blame game” or who’s fault should it be. If the CEO or the janitor for that matter have a habit of leaning forward or sticking the wire under their belt or what ever else they may do, it is the sound persons job to make them aware of the problems that can cause with their audio and try to find the best possible solution to eliminate, or at the very least minimize the problem. If you want to just blame the talent, you will never find a solution.
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Ahhh, you should upgrade to the latest version. It will open up a lot of P2 possibilities.
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What version of FCP do you have?
If you are on 5.1.4 then all you need to do when you open the p2 import window is click on the buton in the top left corner of the window and navigate to the contents folder and click open. It will come up in the window and you can then open it and select the clips you want to import. -
If you dont mind it being seen, clip it on to his collar.
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[jeremy] “If I’m just running a wireless mic and boom mic, is there still a need for the mixer? I know the preamps are better and it gives more control over the sound, but does it work they way i’m doing it?
Yes it will work fine.
[jeremy] I’m limited on the amount of equipment I take due to the remote locations I film in. ie – jungles, mountains, etc.”
I agree with Bob here, keep it simple!. But always monitor your audio, preferably after the record head.
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[Bob Cole] “I know this is the correct advice, technically. But do you think it is advisable when the cameraman is the only crew? For me, a mixer has always meant “Hire a sound recordist.” If I’m the only crew, it’s just another detail that I have to manage — or, possibly, mismanage.”
I presumed by the question about getting a field recorder that there would be more than a 1 person crew. So if the cameraman was the only crew, then plugging a couple of mics straight into the camera would be more advisable, especially if they dont have a sound background. Definitely less things to go wrong when you aren’t familiar with mixer operation.
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Unless you have a REALLY GOOD reason for recording the audio to a separate device I would recommend sticking with recording sound to the camera. I would however, advise on getting a mixer. The Sound Devices 302 is a great little portable mixer. You can plug the shotgun mic and a couple of wireless lavs in and send the lavs to one channel of the camera and the boom to the other. The mixer has better mic pre amps than most cameras and it will give you more control over the sound. You then set the camera to receive line level signal.
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I would reccommend buying the transmitters and receivers on the SAME frequency block. That way if you ever need to shoot with just one subject talking but record the signal on 2 cameras, you can do that. ie. 1 transmitter being picked up on 2 receivers. We recently did this on the Forza Motor Sports showdown on speed tv. The host was on a lav that would be sent to a couple of cameras with receivers on the same block. Most decent wireless systems have about 256 selectable frequencies, so if you do get 2 systems on the same block you have many channels to choose from when you need to run them both at once.
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There is no fields because it is a progressive format.
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If they both need to be on at the same time you will need 2 transmiters and 2 receivers.