Steve Topper
Forum Replies Created
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well, I wasn’t happy with the preamps or the fact that you cannot adjust the xlr levels independently. I suppose that buying a decent mixer might have been a suitable workaround, but at the time, it seemed like selling the h4n, and buying the fr2-le for only a few hundered more, and waiting to save for a mixer made more sense.
I’m curious if going back to the h4n and adding an sd 302 would be a suitable solution. I need something that will deliver professional quality for both studio recording and field recording for video.
does anybody know if an h4n + 302 would be even in the same league as a 702 sans mixer or a fr2-le + 302/mixpre?
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Unfortunately that’s not the problem, with all the proper settings, the recorder still will not turn on, and within seconds of connecting the battery supply, the batteries overheat, and begin to melt.
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It’s just a lot of white noise. Looking around the web I’ve come across a few reviews that say the headphone preamps are pretty bad, but I’m honestly surprised that they’re this bad. I’m kind of at a loss, cause I don’t think that’s something worth trading it in for, especially since the next best thing like a tascam hdp2 would be hundreds of dollars more expensive.
Ultimately, I will be buying a mixer, so I guess I’ll just monitor through those anyway.
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That should of course read, fr2-le. Sorry
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Cool, interesting stuff Ty.
On the music side, years ago, the first time I bought a high quality large diaphragm mic, I was immediately surprised that everything didn’t suddenly sound like a song on the radio. I slowly learned that there is an art and a process in the mixing room to acheive that sound.
As I am now starting to invest in pro audio gear for film, I want to be ready for what that will set me up for. In the past, all editing I did was with sound that was so bad to begin with, it wasn’t worth the effort of tweaking it past some point.
But to your point, it does seem like EQ and compression will be my friends
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hmm, excellent idea.
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That’s some great advice. Thanks for it. I had a similar experience once with someone else’s film I helped out on. Everything sounded fine gathered around the desktop speakers, but on a good pair of headphones or a sound system, it was another story.
That is exactly what I want to avoid in my work.
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Ahh, thank you. That makes sense.
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ah china balls and fresnels. sounds promising, I think I will have to experiment with this. Thanks!
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Yes, I’m sorry I suppose It was a little vague. All outdoor shots will use natural light. (They will be mostly in the woods, and I don’t care to deal with a generator.)
The indoor shots will be a mix between evening shots in a house and night time shots. For the evening shots I guess I am going for “unconfortably underlit” like when you’re at someone’s house and you just wish they’d turn on a few more lights. The mood of the piece is kind of isolated and cold, from a child’s perspective.
The last time I did something like this for night shots I lit the room very brightly with multiple keys to get some harsh shadows and turned it down in post. This gave me mixed results. One reason I used so much light was because the camera could hardly handle low light. I don’t think I’ll have such a problem with the 5d. I guess I’m wondering if there’s a better way to light night scenes.
Honestly, I am mostly concerned because I have never had to pay for or gotten to choose my lights before while I was in college. So now, I want to make sure I buy( or rent) right and buy once.