Richard Crowley
1
COW Coin
Forum Replies Created
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It would appear that Mr. Newman is talking about the BULKHEAD connectors that go through the outer shell of the containment enclosure, NOT about the connectors inside the enclosure that connect to the actual equipment. This is standard practice for extreme environmental system design. And the bottom of the ocean is probably more extreme than outer space.
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Unless the Extron switches are AMPLIFYING the signal (which I doubt), then you are feeding the same voltage through each switch and into the amplifier. The voltages don’t ADD, so there will be no increase in volume. The *current* will double, but the amplifier doesn’t run on current (it draws almost none). All modern audio equipment runs on *voltage* and voltage doesn’t add by passively connecting two sources together. Simple as that.
Question: Why not use a single switch and a single splitter to feed the two projectors? Seems a LOT simpler (not to mention cheaper).
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HOW did you connect the mic to the computer? Do you know that the mic works? Do you know that the computer input works?
I can’t see what the computer being sealed off or sound in the room has to do with this question?
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Not clear why there are two projectors? Are they both on the same screen (for brightness augmenation) or separate screens? Or 3D or something?? If both projectors are aimed at the same screen, not clear why you would be using two different switches?
Not clear that you would have the “sound doubling” problem. Are you saying that you are experiencing this problem? Or do you just anticipate having this problem? Sending the same signal through two different wires to the same destination does NOT “double” the signal. If it worked that way you could run your house on free power with a big bundle of extention cords! 🙂
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I suspect that over such a short distance, using 50-ohm connectors will not make a big enough difference to threaten the integrity of the signal. If you want to be sure about it, you would use an oscilloscope to probe the waveform going into the converter. See how distorted the “eye pattern” is. Compare to the same connection without the 50-ohm connectors.
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It may be more a function of which cameras you are using rather than the switcher or editing system.
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Perhaps you should reveal your budget and schedule. There are likely solutions to your question all over the map, but we don’t know what is likely to fit your limitations?
For example, do you have the budget (and crew) to take along a couple of big cases full of microphones, stands, cables, mixers, multi-track recorder, and have all day to get a set-up that is both visually and acoustically acceptable? Or does everything have to fit into a fanny pack, done “on the run” and cost < $500?
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Here is a third vote for using a DSLR rather than a traditional video camera. There are many reasons why: better and cheaper are primary.
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Depends on how much ambient noise you have to deal with. The “workhorse” of the industry (at least in the Western Hemisphere) is the Sony MDR-7506. There is a high-noise version made by Remote Audio which takes the 7506 guts and puts them into a pair of David Clark ear protectors. (Same kind of ear protection worn on the flight-deck of aircraft carriers, etc.)
NEVER (Never, never!) use “noise cancelling” headphones for serious audio RECORDING. They lie to you about what you are recording. They are fine for casual recreational listening to pre-recorded music, etc. but they are NEVER suitable for serious professional recording.
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“or, if the dialog is said “as if in a dream”……….. ”
Or if you are dubbing it into Japanese! 🙂