[Peter Groom]

Did you ask the sound man how many sep tracks he recorded?

Like you, Im at a loss to explain any real difference in the terminology you explained in the context you are working.

I think its “likely” that the sound mans recorder is set to make a multchannel recording , but hes probably only sending 2 tracks of media to it?
Id start with him.

Peter

Post Production Dubbing Mixer

[Peter Groom]

Another thing i cant believe about this.
Why would anyone ONLY use a radio. Its the most likely to let you down (no matter how expensive) compared to a wired mic. Surely with the opportunity to record 2 channels of audio your put the radio on 1 channel and another audio source on the other????

Peter

Post Production Dubbing Mixer

[Peter Groom]

Were you wearing headphones to confirm good audio at the camera
Peter

Post Production Dubbing Mixer

[Peter Groom]

I have no idea about legacy that old, but why dont you just come up to date with mc6. Deals are impressive. mc has moves on so far.
Peter

Post Production Dubbing Mixer

[Peter Groom]

ok
In this situation id
1) leave power on for your mic.
2) turn attenuation off. agc is never a nice sound BUT if youre short on experience or will need brainpower elsewhere then it might save your bacon.
3) take a line level poast fader AUX feed from your board/mixer NOT a headphone. this will be hissy as hell.
4) set both inputs to mic level
5) pad down the desk feed to your cmera by putting a 40db before the input. (if youve a radio mic this might allow you to tx the feed and pad it down internally (Senn G3 etc.)
6) WEAR HEADPHONES. CHECK LEVELS, CHECK FEED FROM DESK AND PRESUME THEY WILL GET IT WRONG SO HAVE A PLAN B.

any more questions just ask
Peter

Post Production Dubbing Mixer

[Peter Groom]

Hi Noah
I have no problem with complexity. (my background) Im a studio dubbing mixer in film and tv and rarely have a mix with less than 200 tracks, 50 busses etc, 8.1 surround etc, so im a lover of complexity.
my use is for my private domestic use not pro shooting. I mix for pro film makers, not shoot.
This is home video use. having a double shootibg rig for that seems overkill (but i can cope)
I just wanted a new dslr and didnt want a terrible handycam to get video too.
peter

Post Production Dubbing Mixer

[Peter Groom]

If the audio is out of phase now,(ie 2 different tracks with a phase difference) then the sound youre hearing is a result or your playback / monitoring and can be correceted by correcting the pases or changing the balance between the 2 tracks so they dont interfere any longer, or stop them being monod.

if the audio is hollow now on both tracks and now in phase, then the damage has been done. you will hve to do your best with what you hear. Its really all about how or if phase differeing tracks are combined in a mix or in monitors.

nb you dont say what type of tape but if its beta sp are you just taking longitudinl tracks 1 and 2 thats fine but if youre using a mix of say tk 1 and tk3 (AFM picture embedded) then theres a 180 degree phase value designed in there .

Peter

Post Production Dubbing Mixer

[Peter Groom]

Thanks for that Phil.
Seems its all compromise. Poor audio or the need for double recording.
Limited recording lengths and re synching.

I dont think its really attractive to me in the way id thought it would be. I think Ill have to stay with a video camera rather than a stills camera with the video strap on afterthought.

What i would say (to any camera manufacturer) is video is an audio-visual medium. TWO words.(and the audio comes before the visual!!)
Cheers
Peter

Post Production Dubbing Mixer

[Peter Groom]

You could always cut the cable and resolder it the correct length. Thats a 30 sec job.
Peter

Post Production Dubbing Mixer

[Peter Groom]

Hi Phil and Noah
Yes youre right , audio is of high importance to me – Im a dubbing mixer.
(But it should be to everyone in film making)

I presume that most cameras of this calibre are capable of making decent picture recordings, and i also understand that audio is the 1 area they prefer to ignore, and that ignoring it makes the pictures poor!!!!

I have a zoom already but theres obvious double recording operational issues to deal with, on a handheld rig which is a pain (for no good reason) and then the pluralayes added layer of process.
If the cameras are really high end, they should be able to make a decent audio recording INHO.

Is there any restriction on recording length on DSLR. I heard it was something daft like 12 mins???
Peter

Post Production Dubbing Mixer