Greg Curda
Forum Replies Created
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Hi guys,
Having worked with the RED for a while, I would never consider recording only single system to the camera. It’s a camera, not an audio recorder.
The line inputs are non adjustable and nominally -10, so get your pads ready. The pin-outs are correct on the website, and wrong in the manual, or is it the other way around? Also the cables from RED are padded, so check that out.
There was a new sound card build, but they are replacing it by serial number, so it will be another 6 mos before any of my cams get upgraded. This supposedly fixes the level problem… I haven’t investigated yet…
Check for more issues at:
https://reduser.net/forum/forumdisplay.php?s=a9513b6ce589815cdd787b3114c59c15&f=32
I record guide track (mix) to CH1 for the editor to cut with, and then have a sound editor following the cut and laying in the multi-track
…pain in the ass… but that’s also because FCP will not carry source TC in an OMF export, so it’s manual syncing… What fun…Great for picture, bad for sound…
G
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Hi Sofi,
Try using a mono to stereo adapter on the input to your computer. QT should then record the same thing on both channels…
G
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Yes, of course you can run as many mics to different channels as you want. Placement really matters, and inches count.
What is it about the fan that you really want to hear? The sound of the blades cutting the air? The sound of the oscillation, back and forth? The gentle whir of the motor? This may not be possible with 1 track. You might get lucky and find the perfect placement for the Neumann, but maybe not. All placements have some value. You might have to combine tracks/sounds to get the feel you are looking for. Try the suggestions in the previous post.
You dont have to loop anything… Record 5 minutes. If you do multiple passes, just sync the tracks in post, on the timeline. use the oscillation or mechanical sounds for sync. If you have to loop, you will have to pick a sync point anyway to make the loop sound natural. Play with the EQ of each component to bring out what you need from each component. Combining tracks is like combining instruments…they cant all be full range…you end up with mush…do you get my meaning?
Above all, trust your ears…When you get the right combination, your body will go “YEAH”…
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Hi Carl,
All views are correct, just depends on your point of view. There’s no money in this, so it can’t be a pro gig. There’s no house PA system, so the bands must bring their own (for vocals at least).
OK…so you could take a mono feed from the PA to one channel of the camera and camera mic (set to auto) for the other channel, and mix it later. This assumes you have a camera that accepts external audio inputs.
If not, find the sweet spot, put camera on tripod, set audio to internal cam mic, set to auto gain, and hit record. If you have a second camera, you can use that to get other interesting shots for cutaways, but the main sound camera must not be moved once in place.
If the client isnt happy with the sound, they need to throw a little money at the project.
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Great pro starter kit! But Ty is right, pro gear is expensive. You might consider renting the gear. If you make the right deal you could get this kit, plus a couple wireless, for 100-1500/week. If this is an action picture, or there are a lot of practical locations where you can’t control ambient sound, get the best dialogue you can and be prepared for ADR. Record all the ambiances and textures you can, as elements, but the texture is really created through layering, in post.
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Hi Peter,
Thanks for the recommendation. I had looked at VK before, and will examine again. Just wanted to make sure there wasn’t something simple I had overlooked…
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Ah… no views??
Ok… I will stick with OMF workflow till I find something better.
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Hi Brian,
I totally agree with Ty… Generally as soon as you leave something out to save the production money, that’s the first thing you will need.
Always take a kit that is tailored to the job at hand, but with backup precautions. If production wants to buy you batteries and expendables, available to you on location, that’s great. I always travel with enough to get me through 1 day, at least. Or bring with you, if you made an all-in deal.
Production should pay the baggage. If they don’t, then increase your rate to compensate. If you are offering all-in, then you need to adjust your rates accordingly.
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Hey John,
Are you telling us that you run FOH live sound, record audio, and run cameras all by yourself?
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Good solution… Hope it all goes well. At least we know you’re not afraid of doing the work! Good luck.