Jim Macd0nald
Forum Replies Created
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I make my own. They sell double sided velcro.It comes in rolls of 25′ or more. I cut it to length. Panduit sells mini cable ties. Poke or drill two holes in the Velcro and walah!
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Bob there is all sorts of gear out there. I was able to pick up a number of Sennheiser MKE 2s. It turned out to be a pretty versatile mic. With its power supply I could roll off some of the bottom end if I HAD to use it outside. There must be some on ebay. Hell you could win an Emmy with them.
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I remmeber that the 77s and88 had a lot of mecanical noise that would come from the cable. It got real annoying. Yeah for that price you can purchase something new. Good luck.
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We use the 77 and 88 on a number of talk shows and have put them through hell. I have not had a problem with the level dropping like that. For the most part they quit compleatly. Humidity and the capsule? That will cause problems.
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Look out. Line level out of the h4n and mic level in on the camera. Is it really line level or headphone level on the h4n?
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How big is the room Chuck? How many seats? Will they be sitting at a table or speaking at a podium. Do you have an assistant to help put mics on people if you use lavs? A board would be a good idea so that you can shut the mic off if it isn’t being used or when it is being put on or taken off. Three directional stick mics on stands might get results. With a board you can then feed your camera.
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We had a pecil pusher send out chemical hand warmers to keep the cubes warm. Another told us that the reporter should keep the mic and transmitter under their armpit until a news conference was ready to start. I should pit this all in a book.
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What a hoot! Years ago I was praying for a solar powered unit from Lectro. No matter what type of alkaline battery I put in the cubes they went dead in 60 seconds if the temp was less than 32 degrees outside. Lectrosonic said to use lithium and I said sure at 3.75 a battery. We sent all 20 units back.
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Audio VS video has been an issue since the broadcast industry started using new digital trucks. Any major event is using a high def digital truck. The argument was that there is nothing wrong with my audio, fix your video. The video was going through so much processing the audio was never close. How the audio was distributed is interesting. One of the magazines will probably have an article sooner or later.
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Hello Isaac. Whoever your editor wil be ,be kind to him. Give him lots to work with. Audiowise I am talking about. Background sound. Wild sound. Whatever you call it. With the H4n you can gather all sorts of extras for the editor. You might want to look at an external power supply for the H4n. I keep hearing horror stories of files disappearing when the AA batteries go dead. When you test things out ,listen to your audio on a larger sound system. If your project will be shown in a larger room with a large sound reinforcement system, it will sound different from the edit room. Are you using an audio guy when you shoot? An audio guy who is just thinking about getting good audio can be a plus. Audio guys don’t eat much and don’t have too many demands!
Years ago I worked on a project and I was very lucky. I asked my bosses since I was doing audio in the field can I do audio in the edit room? Then if I am doing audio in the field and edit room can I do audio in the studio? The answer was yes. I had control of everything audio. Getting an idea on what was going to be needed beforre we started shooting helped. In my case we were shooting and editing for the smaller screen. The majority of people were watching on 27 and 32 inch TVs. 5.1 was years away.