[Patrick Bronte]

Hi Ty & Bob

I’ve taken your advice and purchased a pair of MDR-7506 head phones and the AT4053b Mic.

Does it make any difference using gold plated XLR cables. It sounds like it would. Should I get these on buying a new XLR cable?

I’ve attached two images that show my mic controls on my XF-100. I’d like to set them correctly and don’t really know the difference so probably have them wrong. If recording volume/strength is increased by turning the dials up, whats it best set to? Can you please advise on the correct settings I should have all the switches on? Does it make a difference if one channel has the shotgun and the other a lavier mic?

Thanks guys.

[Patrick Bronte]

Hi Ty,

That video was very helpful. I’m only just starting to learn so I’m still in the dark as to 99.9% of Professional Sound.

I use a Cannon XF-100 which has two XLR ports. At the moment I’m using an Audio-Technica AT803 lapel mic plugged into one and an old Sony shotgun mic in the other (it was given to me and I can’t find a model number) The lapel mic seems to pick up the high range sounds while the shotgun picks up the deeper tones in the talents voice. This mic seems to be picking up a slight hum and due to its age needs to be replaced. I’d still use it to record the interviews with my Tascam DR-40 as a back up though. I use a pair of Panasonic RP-DJS200 headphones to monitor the sound.

How do I determine what settings I should have the dials next to the XLR ports on a camera like the XF-100 set to? I try not to fiddle to much once something sounds right.

I have no budget so can only afford one mic to replace the Sony as my main mic. All my shoots will be done inside and are set up as described in my initial post. I kind of need an all rounder – a mic that can capture full rich sounds while the AT803 lapel compensates by capturing clear sound. So far the AT4053b looks like a good choice.

[Patrick Bronte]

Todd,

About your 2 cents: You are so right! I know for sure that lights, screens etc will put the guys off! I’ve been doing that for years. I’m really torn between the screen or natural habitat! I’ve got two projects I’m starting at the moment. One is more on the professional side while the other is more off a personal project. i used the screen for the pilot while contending to get the first project started and those involved like the screen and want to continue that way. As for the 2nd, if I go to see some guy and set up the screen, lights its like i’m invading there home! But I’ve found that lighting is key and that you can’t always find the best back drop. I would like to do something with the footage and the black background does look a lot more uniformed. I am just not sure what to do at the moment. I shot a lot of interviews with no screen and most came out fine as long as the natural light was good. Now I’m making sure that I can control the lighting with a set of good lights. I think the screen does conform to the many documentaries cover my subject genera. The screen looks good but you are so right. I’ve tried it with two vets and the set up didn’t disrupt a thing. Both were impressed which was a surprise but I know there are others that are reluctant to even talk to me with the camera let alone the other stuff.

[Patrick Bronte]

Cheers Todd,

Yes Peaking 1does give me those lines and from your explanation I’m getting things right there. When I was first introduced to cameras at Uni my lecturer taught us to zoom right into the talents face adjust the focus so its nice and sharp then zoom out to the desired frame which in my case is head and shoulders. So from what you’re saying is that I should zoom into the eye, adjust the focus then zoom out to the desired framing – correct?

Just for the time being I’m looking at getting this field monitor to help with framing and focus:
https://www.ebay.com/itm/170972816989?ssPageName=STRK:MEWAX:IT&_trksid=p3984.m1438.l2649

Do you think its worth getting it just for those two things? Its cheap enough to allow me to at least have something while I consider getting a proper on? It doesn’t appear to be to bad considering its price. What do you think?

[Patrick Bronte]

Todd,

Can you please explain how peaking works and how do I interoperate it? The XF-100 has two peaking options. Peaking 1 brings out sharp lines around the outlines of things in frame while peaking 2 has some kind of histogram appear on the LCD screen. I’ve found a field monitor that will help me with exposure, frame & focus. It has the same kind of focus assist as peaking 1 on the XF-100. Whats the best way to interoperate and use these focus assist functions?

Pat

[Patrick Bronte]

Ty,

So you reckon get the AT 4053b. Will it be less sensitive to recording noise and other RF sounds as much as the NTG-3? As you’ve probably figured out I’m just learning about audio so do you think you could help explaining laymen’s terms what the switchable 80Hz high-pass filter and -10dB pad allow you to reduce low-frequency noises and extend the mic’s headroom in order to capture loud sound sources does and how it will benefit the way in which I would use it in my interview set up? That is: using one of the XF-100 cameras XLR port for a lapel microphone and the other with this mic. I have a small stand that I place right in front of the talent just above knee height (so its out of the frame) and have the mic pointed directly at there face.

So does phantom power mean it runs off the cameras power supply? Can you give me any idea about how much power it would use? This will help determine the size of the new camera battery I need to get. The AT is $100 cheaper than the Rode, is this a case of “just because its more expensive doesn’t mean its better”?

If you could help answer these questions I’d be very grateful.

[Patrick Bronte]

Cheers Bob,

Does Phantom power mean that once plugged into the cameras XLR port the mic with run of the Cameras power supply? I had to ask to be sure. Do you have any idea as to how power hungry a mic like the Audio Technic and the Rode? After checking out both I think the Rode NTG-3 is the go for me. Its sounds as though its got the ability to record good sound. Its RF filter would be handy.

Thanks for putting me onto that Bob!

Pat

[Patrick Bronte]

Cheers Todd!

[Patrick Bronte]

Well you’ve taught me a few things about what I need to consider in order to capture the right stuff.
I’ve recorded a couple of interviews since talking to you and Todd. I stuffed one up with the magnification aid but my latest is pretty good. Apart from the “shine” coming of his bald head. This is obviously the head light not in the right spot. I have it at a forty five degree angle as taught & told. How would you avoid this? My head light has a soft box but no diffuser, should I try the peg & tracing paper trick?

Cat DV looks great and affordable. So I just need to get the RAID system. But on your advice I think I need to upgrade my shot gun mic. My XF-100 has two XLR ports so I use a pretty decent lapel mic and a shotgun mic that is on a stand that I raise up to the talents knee height and have it pointed at their face. It sounds good but can be better got any recommendations?

[Patrick Bronte]

I just really want to back up my collection of tapes. The solutions you’ve provided are all good ones. That Ninja would save a lot of hassle.
The great thing with the talent I’m recording is that you just have to press record a they provide great content. This leaves me to worry about all the things to make sure that content is captured well.

I’ll load up some screen grabs of some stuff I’ve recorded since I’ve been chatting with you.

Are you a teacher? What type of filming (for want of a better word) do you shoot?