[Gabe Blank]

This is really helpful.

Thanks for your feedback, Kalleheikki!

[Gabe Blank]

Hey Kalleheikk,

Thanks for the response. I’ve been curious about using Particular for a while now. Would you be able to briefly explain how the integration with Element is?

For instance, the video in my original post has the particles emitting around the base of the controller. Is that possible with a combination of Particular and Element?

Thanks again for the ideas,

Gabe

[Gabe Blank]

Great information. Can I ask what CPU you’re using and how Element projects handle it? I’m debating lots of cores with lower clock (like the threadripper) vs lower cores with higher clock. Thanks!

[Gabe Blank]

Hey Bruce,

You’ve given me a lot to consider. I’m hoping you can confirm a couple of my takeaways from your previous post.

First, it sounds like you’re saying the NTG4+ (or really any shotgun mic) will still function mounted on top of a camera. It will just, obviously, lose some of the sound quality due to an increase in noise as I move away from the subject. Meaning, it will function just as well as the Rode VideoMic Pro would in the same conditions. Is this correct? I was afraid it would be worse than the VideoMic Pro, but it sounds like you’re saying the difference is slim or non-existent.

To clarify, my plan is not to mount the mic on my camera on a normal basis. I simply wanted to understand whether or not I could do this in rare circumstances. For instance home videos or when I absolutely do not have time to do an audio setup for a quick project. It sounds like you’re saying I would have this freedom. Of course, I know this is not recommended for professional shoots.

Your point about using a hypercardioid mic is very interesting. I must admit, this is the first I’ve heard of the issue of comb filtering artifacts. You still state that you’d use a shotgun mic if possible, would you be willing to elaborate on this? What exactly are the pros and cons of each type? I’m not finding a lot of reliable information online… Any additional information you could provide would be extremely helpful.

I only have the budget for one mic, so I am trying to maximize sound quality as well as function. It’d be great to have something that will sound professional boomed indoors and outdoors while still providing me the option of top mounting for home videos without the requirement of perfect audio.

Thanks a ton,

Gabe

[Gabe Blank]

Hey Harlan,

Your post was extremely helpful. Thank you for taking the time to participate in this discussion.

Sadly I don’t have the budget to drop 1600$ on a mic. I’m hoping to purchase both a mic and recorder while staying under 1000$. Reality is there is a plethora of other gear I’d like to eventually invest in as well and I need to be smart about what I pick up. So long as I can get professional level audio, I’ll be pleased. On that note, it seems you aren’t a huge fan of the NTG-4+, do you have another preference that would keep me within budget?

I do appreciate your comment about the NTG-4+ not being significantly different than the NTG-2. I’ll do more research and see if that is a potential option as well.

Best regards,
Gabe

[Gabe Blank]

Makes sense. I guess that natural follow up question is will it sound more out of place than something like the VideoMic Pro? Or will it make a better top mounted mic than the VideoMic Pro does, even if it’s a bad idea either way.

The only time I’ll be top mounting it is when I’m doing something documentary style or even filming personal/family videos I just want better audio for. Not necessarily trying to get professional level sound or something that will sound the same as if I spent time properly booming it. I’ll be spending time properly booming it when the situation calls for it.

My fear is that it simply can’t operate farther away from the subject (say, 1-3 meters away.) And also that the pickup pattern will make it useless in this environment. I’m sure anyone who has used this mic before can confirm/deny those fears pretty easily.

Thanks for the response, Bruce.

[Gabe Blank]

That explains why, on top of my range problem, my lights have also started shutting off randomly. I’ve found precomposing shots in my final comp has worked fine. So long as I stay below 8 per shot.

When I first noticed the range problem I only had 3 or 4 lights, though. Looks like this is a broader Element bug as others have reported the same. I’ve since found and posted my workaround.

[Gabe Blank]

Thanks! This is working for me.

I’m just making sure my light layers cover my entire comp and am never trimming them. Using intensity to shut them on/off. Really messes with my organization to have this many lights on my timeline at once but it beats the alternative.

Thanks Kalleheikki, appreciate the idea!

[Gabe Blank]

I suppose it’s comforting to know it’s not just me. Hopefully the VC team will fix this soon.

In case it’ll help you out, what I’ve ended up doing is creating lights that cover my entire timeline and using the intensity control alone to turn the light on/off. Never move the physical layer after placing. If you don’t move the layer you won’t get the bug and I always get the bug when I move the layer.

So far no problems using intensity.

[Gabe Blank]

I am very aware that trimming a light layer is *supposed* to disable it. That’s the problem, After Effects doesn’t recognize my trims and arbitrarily decides when to turn on/off the light layer.

For instance, when I trim a light layer it will stay on after the layer has long since ended. Or, it will randomly turn off even though the layer is still active.