Richard Crowley
1
COW Coin
Forum Replies Created
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Sounds like you have it pretty much covered by using the same mics in the same ways for both the sync video recordings and the “wild-sound” audio tracks. I would not expect that you would have any issues with combining the audio recordings from the EX3s and the PMD661. When recording on the PMD661 I would use 48K and 16-bit so that it will match what the EX3 is recording. That will make it easiest to edit no matter what NLE you are using.
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“lectures” is all we know about your project. Doesn’t sound like something that needs 96K OR 24-bit, OR even double-system sound. Unless there was some other compelling information not included in your question?
Furthermore, one could make a strong argument that keeping the camera and separate sound recorder in sync during the span of a typical lecture will be significantly problematic. I would not want to have to deal with that, especially where there is no opportunity to “pull-up” the video/audio sync by cutting to a different camera, etc.
I would (and typically do) just use the camera audio track for this kind of project. The camera audio is guaranteed in-sync and more than adequate for a lecture sound track. You can extract the track into MP3 during post if you need that also.
You didn’t mention what sort of “postproduction work” you were anticipating, but most any video NLE application would likely do the job. Especially if you don’t over-complicate things with double-system sound.
I typically use 24-bit resolution when I am recording live musical events because I need the increased dynamic range to preserve unexpected peaks without clipping. I have never had occasion to use 96-bit. Even for most music recording it is overkill IMHO. I can’t think of ANY reason you would need 24-bit or 96K sampling for recording speech.
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I saw that everybody and their obscure Chinese uncles were showing off fluorescent and ESPECIALLY LED lighting equipment.
I saw a little Panasonic 5-input HD-SDI video switcher the size of a book that will probably end up as the center of my ultra-portable HD production unit. I saw several HD-SDI recording solutions, one of which I need to get to record the output of the switcher.
I saw a whizzy show by the Newtek people and their latest Tricaster box. That may be an alternative to a traditional switcher and recorder. It certainly has a great deal more bang for the buck, but reliability for live-event capture is a concern.
I saw the COW magazine on magazine row, but too busy to read it yet 🙁
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The university doesn’t already have classrooms set up with video projectors and screens? Do you really want to get into the equipment rental business? The school is likely much better positioned to know where to get such equipment at educational discounted prices, etc.
If you want to do it in HD, then you will probably need new projectors and not little home models if the classrooms are very large (or can’t be darkened sufficiently). That won’t be cheap. Are they paying you enough to make that profitable?
If you have good old Standard Definition video available at some point you can just feed that to ordinary video projectors in the other rooms. There isn’t really anything magic about it. You might need a video Distribution Amplifier if you have to send the same signal off in two different directions.
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The canvas may be somewhat translucent, but the paint may not be. Or it may not be in the thickness that they are using. If they are using paint with some “body” like thick acrylic or oil paints (from tubes), then the paint becomes relatively opaque with a bit of thickness. Some avant-garde painters really lay it on thick with knives and even trowels and I wouldn’t expect that kind of thing to hold up very well with back-light.
OTOH, maybe you can develop a whole new phenomenon with the artists/performers. Something with canvases (which don’t necessarily need to be made of heavy canvas fabric) stretched over frames that fit on top of LED panels. There are all sorts of effects you could do with paint colors and light colors. And then there is also UV and fluorescent paint as has already been mentioned.
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Or use a blue-tinted “white balance” card to “cheat” the camera warmer.
OTOH, does “not seem to look at good” have a better definition? Exactly WHAT doesn’t seem to look as good? Could it be CRI and not color temp?
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Hopefully Mr. Soriano realizes that additional lights are needed for the foreground person/object.
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If you do live events that infrequently, indeed you would probably be much better off renting one when you need it. Sounds like you need a better rental vendor, too.
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“From the audio board, I will feed them to my record deck. Is this the proper way or should I go to the video switcher and then to the record deck?”
From your description of your setup, there is no reason to go through the video switcher. If you had some requirement for “audio-follow-video” then the answer might be different.
“Is there anything wrong with purchasing an audio board with a built in amp?”
Not really. Of course you would feed your recorder with the LINE-level output of the mixer and NOT the speaker level output from the amplifier. Integrated mixer/amplifiers might tend to be not as high performing as dedicated mixers. They might have worse signal-to-noise ratios because it is assumed they are being used for sound reinforcement. But I would surmise that would not be a significant factor in your described configuration.
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“Will two of either of these give me broad even illumination for the background?”
Those are nice lights. But there aren’t TWO of *anything* that will give you “broad even illumination” for infinite white.
For about the same amount of money you could buy 6-8 ordinary “shop lights” and put good Kino (or similar) tubes in them. Be sure to use the kind with electronic ballasts, and not the old buzzy magnetic kind.
I don’t see how you can light infinite white with two fixtures, no matter how good, expensive (or even large) they are. If you don’t like our advice, try it for yourself. Some people just have to experience failure for themselves.