[Peter Groom]

Interesteing question , and Id hope someone with more specialized knowlege than me might contribute, but Id think that the progressive footage will just go into your interlaced project without issue, as I understand progressive has both fields the same in any case.
Peter

Post Production Dubbing Mixer

[Peter Groom]

Hi
Id think not.
Every file has to have an extension. Thats how the computer / device knows what it is and how to deal with it.

Id think its the software of your car cd player that displays that data you dont want, rather than a fault or adjustment you can make with the file.

Peter

Post Production Dubbing Mixer

[Peter Groom]

HI
yes youre on the right track.

Take a mix feed from the desk on a BALANCED output. Then buy or make an XLR cable to get the audio to the camera, and make or buy a Female XLR to 3.5mm jack cable (NOT an adapter – its too heavy for the camcorders jack input to have all that weight hanging off it.
Now the problem is that the line feed from the desk is Too hot. It needs to be PADDED down.
Buy (or make if youre an electronics wiz and can use resistors correctly) a 40db PAD. This will have an XLR to XLR (female to male) Insert this just before the adapter cable to the camera(which should be only a foot or so long to minimise rf interference as it unbalancing the signal.
The signal is now MIC level and correct for the cameras mic inputs.

USE manual gain control and USE headphones so you can react if its too low or quiet, but really the mixer operator has to understand that his levels need to be correct (not to his speakers) but as an electronic signal leaving his desk to you. He should have s sub group he can give you so this level can be reacted to promptly.

If you have some cash, you might consider transmitting the signal to the camera. No tripping cables etc. The radio (depending on which you buy need to be able to be padded down on the input to the transmitter by 40db, and will save you the pad purchase) A sennheiser G3 does all this for you. I ddo this every day and use a g3 for it. No problems.

Peter

Post Production Dubbing Mixer

[Peter Groom]

Hi Jonathan.
Ill comment here as no one else has so far.

1) The crown mic you are suggesting is a boundary mic and also pretty expensive from a google. Id suggest that as (having listened to your video clip) the resulkts you have at the moment are soooo distant, that just about any cheapish shotgun style directional mic on a small floor stand (on a rubber block to remove floorbound vibration as people move) would give a BIG improvement.
How will you get the cable from it to your camera? If you are in the audinece. You dont want to trip someone up and get sued!
This mic could be placed within a metre or 2 of the performers and get much better audio Id think.

2) The camera you have uses a 3.5mm jack. So you will need to extend your mic cable to an XLR cable and then get a cable to downsize the female xlr to a 3.5mm jack. perfectly easily available. DONT use an adapter into the camera. The weight of the XLR barrell, and then an XLR adapeter barrel and then the 3.5 will tear the socket apart inside the camera. Use a shortish cable that you can tie off.

3) the main thing to ensure when tou buy a mic is thet it had an INTERNAL battery. The camera wont power the mic, and a dynamic mic wont give the level or quality. Get one where you insert a battery in the mic. Look at RODE if youre in teh uS. They seem well resepcted over there.
I think in this sort of setup a max of £100 UKP would be enough to spend on the mic.

OH and were headphones always.

Peter

Post Production Dubbing Mixer

[Peter Groom]

Indeed. Good results today though
Peter

Post Production Dubbing Mixer

[Peter Groom]

Has something happened?
Peter

Post Production Dubbing Mixer

[Peter Groom]

Id call zoom rep in your country for advice.
DONT make any further recordings on that card until its resolved.
Peter

Post Production Dubbing Mixer

[Peter Groom]

Im plesed to say Im not old enough to have any knowlege on this score.
Peter

Post Production Dubbing Mixer

[Peter Groom]

HI
1 thing Id like to contribute on.

re
From reading Wikipedia, I think both of those last settings are actually ‘compression’, right? The limiter setting is probably more aggressive compression?

You need to understand there are big differences between limiting and compression. Its too much to explain in full here, but briefly
1) Compression. This GAIN REDUCES the signal above a threshold level, by the amount stated at the Ratio. So if 1 3:1 ratio is selected, the device will only allow 1 db through the threshold level for every 3 db increase in volume of the source. ie 3 turns into 1. Gradually increasing the severity of this increased the brutality of the audios gain reduction. Then make up gain is applied to re instate the level back up again. The result is that the audio is more BRICK like. solid. LOUDER if you like as the dynamic range is decreased and it all has a higher value.

2) Limiting. This doesnt change the audio, merely the user defines a point where the limiter stops anything higher getting through, by a ratio as before. A limiter is often set high to guard just before electronics overload or digital clipping would occur. A brick wall limiter allows nothing through (although both have an attack and release time that determines how fast theyll grab the audio.

They arent the same. Very different in fact.

For a more detailed explanation including things like knees, expanders, de essers . gates / duckers etc etc theres lots of reading out there for the interested.
Peter

Post Production Dubbing Mixer

[Peter Groom]

Tis true. Most pro speakers are powered these days.
Peter

Post Production Dubbing Mixer