[Rob Manning]

Hi Omar,

The talent, are they using with lavaliers?

Thanks,

RM

[Rob Manning]

Hi Bill I did mention this as well: “In the case of a two step box like the Zoom, TASCAM, Sony, one can feed the line level to the camera, but, there are gain structure considerations in some cases and Sescom offers several buffered cables specific to the gear being used for connectivity.

https://audio-video-supply.markertek.com/search#w=sescom%20dslr ”

Your site is very informative BTW, great stuff.

Thanks!

Rob Manning

[Rob Manning]

H4N for example, a stereo signal (around 10 kΩ impedance) set independently with the volume control which would be used for headphones otherwise -10dB consumer (versus +4dB) if there is not a separate line output.

As noted, noise floor and gain structure are task one from source (line) and on camera input.

A closed back set of headphones is recommended to gauge playback.

RM

[Rob Manning]

Thanks!

RM

[Rob Manning]

Nice to know.

I don’t own Canon etc. thanks.

RM

[Rob Manning]

Steve is correct and other NLEs (Premiere Pro) usually have an option for time-code in the render.

So far, no one has figured out how to attach TC to HD enabled DSLR footage.

RM

[Rob Manning]

I’m sure you have a grasp, dual source audio is requisite and synched after the fact with either a slate or using Plural Eyes (Red Giant).

It is functional and accomplishes the task but basic compared to time code camera synch on higher end set ups.

The larger issues once gain and source are ironed out is mic placement, body pack, boom and operator, off camera stands, subject movement etc.

Rich Harrington and others have a lot of stuff online, Adobe, Lynda, Video Cop and of course here at CC.

Search the tutorials links, I’m sure a lot of stuff is already in place.

HTHs

RM

[Rob Manning]

Buy Rich Harrington’s book, “From Still to Motion”.

https://library.creativecow.net/harrington_richard/DSLR-Sync-Sound-Workflow/1

Search dual source audio on the web, there should be lots of tutorials.

In the case of a two step box like the Zoom, TASCAM, Sony, one can feed the line level to the camera, but, there are gain structure considerations in some cases and Sescom offers several buffered cables specific to the gear being used for connectivity.

https://audio-video-supply.markertek.com/search#w=sescom%20dslr

HTHs

Rob Manning

[Rob Manning]

Leaned about test shots the hard way on a concert.

We should have done as you noted, and pushed the production team (music) and house to run a few set ups under stage lights (house lights were on) then walk backstage to the Premiere LT, and check scopes for each camera. We ended up with disparate takes (2 Nikons, 2 different Canons) so matching the footage in post was a challenge.

Using a pre shoot WB is important, again, basic photography/cinematography 101.

Thanks!

RM

[Rob Manning]

Hi,

The rules for photography are in play, lighting (Kelvin) temperature color meter (app?), incidence light meter (app?) and calibrate the settings with a grey scale card, or focus and meter the camera with a a white card, or the white background itself.

In any case, these test drives will not eat up that much time in the interest of getting it right.

Camera setting should be flat or neutral unless the ‘standard’ or ‘portrait’ settings achieve the correct readings.

Another aspect, although not normative industry wide is consider (ask?) if the footage is being placed in a web magazine, there are shoots (We went to an APA clinic on the technique) where shooting the subject vertically is expected. (turn the camera length wise like shooting a full length portrait) although initially, playback will be sideways. (rotate in post)

This allows the length of the framing to be used with less crop (isolation) from typical horizontal footage if the content is destined for a web magazine like GQ or other fashion destinations.

It might be TMI but could provide another ‘angle’ for content after the shoot, with an interest motion shot over a matte of some type. You could do a few takes at the end for creative purposes.

It is more of a close up look and when scaled to fit onto the 16 X 9 frame, is (arguably) going to have better detail because it is a tighter shot say as a full length image.

Other folks may have better ideas on the situation.

Have fun,

Rob Manning