Rob Neidig
8
COW Coins
Forum Replies Created
-
Shaun,
Actually there are a lot of companies that can do this. Any good audio editor with Sound Forge, Adobe Audition or other noise reduction tools should be able to reduce hiss, remove some of the unwanted background, and apply equalization to make the speech more intelligable. Without hearing it, I can’t say how good it can be, but check around with audio companies. The levels of capabilities will vary all the way from “we only do rock and roll recordings”, to someone with the noise reduction tools and knowledge, all the way to a “CSI” like forensic audio shop. Note that even forensic audio people can’t just push one button and clear up all the sound like they do on “CSI”, though :>)
Don’t know where you are, but if you can’t find someone locally, I would be happy to quote you some rates to take a stab at it.
Have fun!
Rob
Rob Neidig
R&R Media Productions
Eugene, Oregon -
Dan,
Others have good answers. I often use a C-stand with a boom arm and grip head. I then use the post of a desktop mic stand (about 6 to 8 inches tall – I just screw off the base part), mount it using the grip head, and then any mic can be threaded on the end. Those other adapters are probably great, but I have all this stuff with me anyway.
Hope all is well on the other side of the mountains. Here in the valley I’m ready for summer!
Have fun!
Rob
Rob Neidig
R&R Media Productions
Eugene, Oregon -
Jason,
In this case, your MOTU V4HD is acting basically as your sound card. I am not familiar with the unit, but I looked quickly at it on the web site. It obviously is capable of transmitting the 4 channels you need (in fact up to 8 analog and 8 digital apparently). The way to try to set this up in Premiere is first in the Project Settings under the Audio tab. (If I get the exact names of the menus wrong here please excuse me. I am not where I have Premiere available to look at to make sure to get exactly the right wording.) If your MOTU interface has drivers installed on your computer, then you should be able to select it as your audio I/O source. You may need to select ASIO there to have access to the MOTU unit. Then in the Audio Mixer window of Premiere you can select which track goes where. You do that right in the column for each track. I don’t know if this will work or not, but those are the two places in Premiere where you would need to go to set it up and attempt it.
If that doesn’t work, then you could still use the method I mentioned in the earlier post. It would just take two passes for your master.
Have fun!
Rob
Rob Neidig
R&R Media Productions
Eugene, Oregon -
Jason,
The short answer to “how do I specify in Premiere which tracks go where” is that you probably don’t. It’s dependant on your sound card. If you have a sound card capable of multiple outputs, even one that’s designed for 5.1 surround sound, you could specify your output. Chances are your sound card only has stereo outs. That would mean at least two passes to create your HDCAM master. The first pass you would lay down the stereo left and right on tracks one and two. Then change your cables, inputs, whatever on your HDCAM recorder and do a separate “audio insert edit” where you lay down the other two tracks, matching the time code so it’s all in sync. I would also check with the station to see if tracks 3 and 4 are absolutely necessary for your program.
Hope this helps. Have fun!
Rob
Rob Neidig
R&R Media Productions
Eugene, Oregon -
Allen,
I’m a CLVS, too, so the Blackberry issue rears its ugly head WAY too often in depos!!
I also have the Marantz 660 and I think that’s a good idea to use it. I’ve done similar with good results. The wireless feed from mixer works, too. Like I say, you just need to be aware of dropout/interference issues. Particularly if you’re in the fixed/lock down position where you can clip the receivers to your tripod or hang them off the battery boxes on the camera. I hear you (pun intended) on not having cables streatched all over creation! Sounds like you’ve got a handle on the situation.
Have fun!
Rob
Rob Neidig
R&R Media Productions
Eugene, Oregon -
Hi Allen,
I’m not Ty, but I’ll throw my $.02 out there. You can do this with just about any of the wireless systems. We do this all the time with two of the Sennheiser EW100 G2 transmitter/receiver set ups that have become so popular. They come with a cable to connect the line level out from the mixer into the transmitter. You may also need to change the sensitivity on the transmitter if you’re sending line level instead of mic level from a lavalier. You also need to find a way to mount the receivers on your camera so you’re not tied down or that sort of defeats the purpose of going wireless. The other caveat is that the camera op then really needs to monitor audio because you’ve introduced a possible problem area with dropouts in the audio from the mixer to the camera. With good line-of-sight and not too much distance it can work quite well, but with wireless there is always the possibility of interference or dropout. Of course with Blackberry’s and the like, now even with wired setups you can get interference. Oh well…
Have fun!
Rob
Rob Neidig
R&R Media Productions
Eugene, Oregon -
As to channels vs tracks:
I typically think of channels as relating to a mixer and tracks to a recorder. Thus, for example, a Sound Devices 302 has three channels, that is 3 inputs, for different things. The output is then sent out as typically a stereo output, that is a left and right track. Within the mixer you determine on which tracks the channels will be recorded. Carry this view on and you get for example 48-channel mixers, with 48 different sources all being mixed down to two audio tracks (stereo).
Then there are recorders that have more than 2 tracks. Sometimes you may send each channel to its own track, sometimes you will mix several sources to one track.
As to the “iso” issue, yes “ISO” can mean a number of things, but I often hear video/audio people talking about recording mics to “iso” tracks. This would mean that if you have 2 people in a scene you would pan one mic all the way Left so it only gets recorded on track number 1, and pan the other mic all the way Right so it only gets recorded on track number 2. As JC says, this is more often called split tracks, but I have heard the term iso used. Where you start having to make decisions about how to split is when you have more than 2 sources, but are recording to stereo.
Hope this helps. Have fun!
Rob
Rob Neidig
R&R Media Productions
Eugene, Oregon -
Mark,
Is is possible the audio engineer provided an audio file whose sample rate is 44.1 kHz? If it was provided as just an audio CD, then that would definitely be the case. The video on your camera is likely 48 kHz. That would definitely cause them to go out of sync quickly. You can use a program like Sony Sound Forge or Adobe Audition to change the sample rate of the audio only file, or many video editing applications will change it upon import if you tell it to.
Hope this helps. Have fun!
Rob
Rob Neidig
R&R Media Productions
Eugene, Oregon -
Justin,
Yes, the line input is what is called “clipped”. Where you see that the waveform is squared off, the audio has just been cut or clipped off at that point because it was too high for your camera. Does your camera accept line level signals or were you feeding a line level signal into a mic level input? If so, that would definitely cause it to be clipped. Mic level is typically about -60 to -50db while line level is either -10db or +4. You would need to convert from line to mic level. If your camera CAN accept line level, then you had the level control set too high, which caused the clipping. Unfortunately once clipped, there is very little that can be done to try to make the audio usable. Adobe Audition has a “Clip Restoration” feature and EQing can help a little, but you’ll still have something that sounds pretty bad. Glad you had the shotgun on the other channel!!
Have fun!
Rob
Rob Neidig
R&R Media Productions
Eugene, Oregon -
I agree with Rodney, and even simpler, you can just plug the RCA plugs into the “Tape In” RCA inputs on the mixer. If you really want to go through the DI, then I would use the XLR cables since you state that the level out is mic level.
Have fun!
Rob
Rob Neidig
R&R Media Productions
Eugene, Oregon