Sam Mallery
Forum Replies Created
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One feature you’re going to need is the ability to record 24-bit 48kHz uncompressed audio files. Also, if you’re using a field mixer, you’re better off using a recorder with line-level inputs. As always, everything depends on how you plan on working. The number of microphones you are going to use, the number of individual tracks you need to record, how many direct outputs your mixer has, etc. These all play a role in determining the kind of recorder you need.
The trouble with running double system like this is that you end up with a lot of equipment to operate. Camera, mixer, mics, recorder, lights, clapper slate, human beings, mother nature… it can be a bit much. Having an experienced sound person working with you can make all the difference in the world.
I did the sound on a shoot last month with the Canon 5D mkII. I had two wireless mics and a boom going into my Sound Devices 302. I recorded the audio from the Tape Out on the 302 into my Edirol R-09HR at 24-bit 48kHz. I had the two wireless mics panned to the right and the boom panned to the left. I brought my clapper slate and a PA operated it. We made sure to slate at the beginning of each take. The shoot was a success and the director was pleased with the results.
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All good advice, but I just want to emphasise that you want a “hyper-cardioid” small diaphragm condenser, not just a cardioid. Hypers give you a little more reach than cardioids. I use the AT4053 and I’m really happy with my sound.
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Justin – the person operating the boom needs to listen to the mic as they work. They should plug headphones into the headphone output of the camera and monitor what they’re doing at all times during a shoot. That’s how you determine where to position the mic. The boom operator should “roll” the mic (point it at the person speaking). So, if there are two people in the shot, instead of staying in a fixed position between the two and picking up one person on the left side of the mic and the other on the right, they should point the mic at the person who is speaking and pick them up with both sides of the mic. As to where to put the boom (above or below), that also depends on the shot. The boom op has to experiment and listen to what sounds the best. The boom operators job is to constantly follow and find the sweet spot. It’s an art, and it’s why booming is a challenge. A good rule of thumb is to point the mic at the speaking person’s chin, and to get the mic as close as possible.
How do you like the sound of the mic?
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“Any ideas how to send a mic and line level out of the 302 together? Could I use tape out?”
Yes, you can use the Tape Out. The Tape Out is line-level only. So, if you’ve attenuated the main XLR outs of the 302 to mic level to accommodate the camera, it does not affect the level of the Tape Out. You need the Sound Devices XL-3 cable for this:
https://www.sounddevices.com/products/accessories.htm
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I like the R0DE Stereo Mic better. The R0DE Video Mic will be a little more directional, more like a traditional shotgun mic, but I think its shockmount it is a little too wobbly. The R0DE Video Mic is cool for what it is, but between that one and the Stereo Mic, I like the Stereo Mic better.
The Stero Mic is a little beefier, and the shockmount doesn’t wobble as much. It’s a great on-camera mic (it’s a killer mic to have for a Canon 7D or 5D mkII), even though it is a little large. Both the Video Mic and the Stereo Mic have an integrated 3/8″ thread on them, so they can be mounted on boompoles. R0DE also sells a 10 foot cable to use on the mic when using a boompole. 10 feet isn’t terribly long, but it’s enough to get a boompole happening and take care of the issues the other posters brought up.
The real reason I like the Stereo Mic better is that everyone I’ve ever met who has used one just raved about the sound quality. If you’re going to be recording live musicians, I think it would the better mic to have. It seems like a good “general” stereo mic to have at your disposal.
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I’ve never done so personally, but MOTU has a strong track record for doing most repairs large and small for $50. It’s well worth going through the trouble of taking it out of your rack and getting the serial. MOTU tech support is known for being kind of hard to get in touch with (hence not opening their mouths until they get a serial number), but, they should help you out once you get through the initial hurdle.
Personally, I would rather buy an RME Fireface 800 than an Apogee Ensemble. Both interfaces are considered superior sounding to MOTU (but, not “vastly” better sounding).
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While the advice in this thread is all good, don’t forget that your Mac Pro has a stereo line-level 1/8″ input built right into it. All you need is a stereo RCA to 1/8″ stereo mini-plug Y-cable. You can get one at any Radio Shack or music equipment store for a couple bucks. Many people already have this cable in their home to use to plug an iPod’s headphone output into an input on their stereo system.
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I wouldn’t recommend using a wireless mic for this task. He’s going to have to needlessly feed the transmitter and receiver batteries, and a lavalier mic isn’t what you want to use for VO anyway. Plus, you’re still going to need a way to get the mic to record into the computer.
I had a friend who was in a similar position recently, and I suggested he get the BLUE Snowflake USB mic. It’s a small microphone that plugs directly into a Mac or PC computer. You record the audio directly into the production software (Audacity, Garageband, Final Cut Pro, etc.).
There are lots of inexpensive USB mics on the market that can do this as well. BLUE is a good company that makes great sounding mics, and the Snowflake is pretty inexpensive and competes price-wise with lots of lesser quality mics.
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It sounds like a lot of effort is going to be put into your film. My advice is that the person who is responsible for running the video cameras for each group session must also be responsible for the audio. They have to watch all of the footage after each session, and make adjustments to improve the audio each time. They would also have to monitor the sound during each shoot, and again, adjust as needed as each session progresses.
If your plan is to totally “set and forget,” then you can must understand that you will not come out of this a year from now with a quality production.
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Once you have decided on an installed miking system, it’s going to be important to have the group members sit in the same positions in every session. Just like if you were going to be setting up multiple fixed video cameras for 1 year, the subjects would need to be in the same spot. Otherwise they’ll be out of focus, not properly framed, or potentially not on camera at all.
Also, be mindful of the dynamics. The subjects may go from quiet whispering to loud crying in an instant. This can be a challenge for experienced location audio people, especially in unscripted shoots. In a fixed installation you run the risk of missing a lot of low volume dialog.