[Peter Groom]

HI Daniel

Ask yourself this. Why dont they use sm58’s on the news if theyre designed for speech use and can pick up adequately from that distance.
Also, why dont you give a rock star a personal clip mic. Its all about proximity to the sound source, exclusion of other airborn audio causing feedback, and the levels that the source will generate. Rock star is pretty high.
Spoken word, much much less. Id suggest that a dynamic mic like a 58 at that distance will be quiet and not too pleasing (and lacking in crispness, top end) Youll have to gain it high on the desk and then youll hear how good the mic pre’s are on the mixer.

The only real problem with a personal on a panel of people is that as peoples heads turn to discuss to the left and then the right, you will get some off mic audio. Its a fairly small issue and you can lessen the effect by careful positioning on speakers, especially those on the edges of the group and they will only ever look / talk 1 way (inwards)
Solution is
. Put one on each lapel (but thats doubled your mic, mixer, cost issues.

Another type of mic to consider would be an AKG 747. Its like a slim pen. Directional pick up and crisp. It is camera shot freindly and has a much better reach than sm58 etc. BUT will be a handful if youre mixing to a PA as well from a feedback pov. I think it needs phantom power, but not 100% sure.

I dont understand why you want to buy everything. Hire the right mics for the job. There are plenty of broadcast hire companies around who can hire radio mics, ecm 55s 77s akg 747s etc etc.
Hiring 5 x 77 might only cost £50 a day and a few XLRs.

If youve already got the 58’s, what do your ears say. Do a test. put it on a table stand, in the position where it will need to be, then sit right back in the chair, as thats what your panel will do, turn away from the mic and chat normally to someone 6-8 feet away and record it. Dont project too much as they wont! Your recording will tell you the truth, and that will be the best you can hope for in a test situation. The real recording will be poorer as they wont be thinking about mics.

Lastly. if this were me, id position a 416 rifle mic about8 feet away and have a little of this mixed in under the personal mics. I mean just enough to add a little space or air. Personal mics can sound quite tight, and the rifle will open it up a tad. But be gentle with how much you mix in. if you can hear the rifle, its too much. it should be subliminal, and only apparent if you turn it off and on. Even then slight. Almost too much trouble to be bothered……but its not!!

Peter

Post Production Dubbing Mixer

[Peter Groom]

Why SM58s?

Im not a fan personally. Ok theyre rugged and have been around a long time, but thats about it for me. I see them as a stage / performance mic, where the performer will press it on their tonsils.
I think it may be too far away from your peoples mouths, its big and unsightly (bad if theres a camera shoot too, need to be on table stands which will rattle table noise up into the mic, and the output levels arent too “hot” either.
Bad choice in my opinion (although Im sure others will disagree)

Id put Sony ecm77s on each person( if you want wired) or sennheiser g3 radios. Discreet, always in the ideal place, close pickup pattern, bright, camera freindly, good level output.

Just my opinion.
Peter

Post Production Dubbing Mixer

[Peter Groom]

Shanes suggestion of accessing via ama and then transcoding is best, then you can use multicam as youre no longer accessing the media via ama.
I do this all the time
Peter

Post Production Dubbing Mixer

[Peter Groom]

Agreed Eric, if theres a spare aux. Dont show up at one of my gigs 10 mins before curtain expecting a spare aux tho. My desk always runs out of busses before my need does. No spares for a tv crew who show up minutes before.
Peter

Post Production Dubbing Mixer

[Peter Groom]

If youre just doing pa mix then i dont suppose it matters, bur then when a tv crew walk in ans ask for a desk feed, it will be so low as to be useless, and there not much can be done about it without destroying the pa level setup.
Id suggest having each input on the desk at sensibly readable levels on the desk meters, then turning up the amps to the right level for your ears.
Peter

Post Production Dubbing Mixer

[Peter Groom]

Maybe so. Must quizz my parents.
But if thats the case Im not happy i ended up in wet windy Newcastle England when others seemed to do much better in Sunny Sanfransisco.
Peter

Post Production Dubbing Mixer

[Peter Groom]

Hi Tyler.
I dont know of any headphone transmitters, but I do know that you are the first person who shares my surname that ive found who works in Tv like me.
Peter Groom

Post Production Dubbing Mixer

[Peter Groom]

I learned something there. thank you!
Ill goo and have a play with aaf with media other than audio.
Peter

Post Production Dubbing Mixer

[Peter Groom]

Speaking as someone who mixes and therefore creates surround productions , that ultimately end up as ac3 files etc on dvds, Id suggest that theyre in that format because people, just like me, dont want you accessing the components.
If youre supposed (and have permission) to do it then the owner of the work will be able to arrange whatever deliverables you need. If you dont have that permission……….
Dangerous territory.

peter

Post Production Dubbing Mixer

[Peter Groom]

I dont get this?

1) I understand that AAF is advanced audio file, anupdateed version of the OMF idea. Didnt know it could be used for stills.
2) EDL iis edit decision list. Just numbers from a timeline . There is no media in an EDL.
Peter

Post Production Dubbing Mixer