[Nikos Papadopoulos]

I had the impression that it’s not a good idea to use a shotgun and that it’s better to have a less directional mic for indoors.

[Nikos Papadopoulos]

Thanks Ty !!

Quite a difference between the 416 and the hypercardioid .. And I believed I could get away with just an NTG3 !! I think i will seriously look into the possibility of getting a system mic with 2-3 different polar patterns. Perhaps sennheiser ME/K6.

What about the recorders. Which one from the ones I mentioned would you choose?

Many thanks again.

[Nikos Papadopoulos]

Thank you both.

I am planning to use boom for the fiction work but mounted mic on camera for static interviews.
Actually the main reason i am considering a better recorder than, say, a preamp to go straight to camera is for the fiction work. Boom is a necessity for sure. Also because I want to have room to expand.

The reason I am a bit confused with all these recorder options is that as filmmakers we do not have the expertise that you audio guys have. And trying to find a decent budget solution makes things even harder. It is a bit embarrassing that in the last 5(?) years many independent people bought into the H4n hype. And I mean some professional sound guys too. From what I understand the pre amp quality on H4n leaves a lot to be desired.

So, in any case an external recorder is a must even if a will get a mark3 or a BM production camera or whatever in the future. I also believe that audio equipment are not so easy disposable as all these image capture devices we get. And that is why I am looking for the best possible quality for my budget.

I’ll have to look into the non-interference tube boom mics , I don’t know much about these but I am definetely thinking about ntg3 as I ‘ve read great things.

[Nikos Papadopoulos]

thanks Ryan.

[Nikos Papadopoulos]

thanks for the reply.

apparently fcp crashes with or without the new audio.

[Nikos Papadopoulos]

Thanks, I will read that. It will be helpful to know my way around the media manager.

But what about the other option – bringing the final exported film and using the scenecut to make automatically all the cuts?

[Nikos Papadopoulos]

Id recommend using fcp’s media manager to consolidate material to a single folder first.

Could you point me to some instructions on how to do this?

many thanks

[Nikos Papadopoulos]

“Does this footage have reel name and timecode? If so you should be able to first bring clips in to media pool. Then import XML. And it should conform to the footage in your pool.”

Juan this is what I did but the video in the timeline plays black.

“Id recommend using fcp’s media manager to consolidate material to a single folder first.”

I was thinking about this option OR to export my finished edit to .mov and use resolve’s function to analyse the cuts and take it from there.

What do you think would work best?

[Nikos Papadopoulos]

UPDATE:

I imported *manualy* all the clips from all three scratch disks to the media pool.

Result:

xml looks like imported the timeline but everything is black. No video playing.

[Nikos Papadopoulos]

It might not be the place to ask but still, do you know of any links for a sample contract with an audio production company I could use?