Stuart Nimmo
Forum Replies Created
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What a wise thread!
I would add that there’s been a very good reason why broadcast quality video cameras (and this includes HDV ProDV and so on evolved ergonomically as they did and continue to do, it’s not because we are luddites but because cameramen have found that shape and heft practical. I’m talking there about the shape of “the box”, not the contents. It’s worth noting that this general form has been broken away from and returned to for very many format generations. I’m not of course saying that this is a valid reason to feel stuck with that ergonomic shape, I’m very ready to adapt, providing the replacement is actually better. I really don’t want to shoot what I shoot on a stills camera.As to format, these larger chips (can) produce fabulous images, nevertheless for me the rolling shutter is a non-starter, it’s faults are so well known and limiting that (for me at least) until a solution is found there’s no point in going into that further.
Sound? Vital I see little point in going back to the early days of mute cameras. In this economically and environmentally tough time it’s vital that all existing top quality broadcast audio kit is 100%(not 99.99%) compatible with any new video camera, right down to switching and XLR plugs.
Switching and plugs: while we are at it, for at least a couple of camera generations (say six weeks?) these should remain the same.
DSLR looks really great, Now put that technology together with a shutter that works and into a box that works for moving pictures and you’ll have a winner (for a few weeks).
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Just to add and clarify.
Ty is the man for audio and he is right about not recording “duff” sound in the first place. Audio is a big responsibility, well used it can easily add up to more that half the value of a production, (radio exists and tell a story really well without television, but television isn’t up to much without the sound.
My suggested repair method is definitely for emergencies and “after the sad event” only. It is not a regular audio edit tool.
If you are stuck and if you really need a solution to echo then used carefully and with moderation you may be able to improve on a poor job. It is worth a try, after all, you can always undo the cure, you can’t necessarily undo the original error.
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As I said, I’m not keen on this of course Ty, but if you are stuck it does work. I’ve used it in desperation, (I made the silly mistake of thinking I was on my summer holiday. I was on a Greek island with almost no equipment at all (and no chance of collecting any in time) when a story came … and went. I simply had to shoot it. In post I relaid 11 audio tracks (thankfully as an ex BBC Editor I loved track building and laying)and was left with an interview that was clean apart from mild room echo. I tried this and was very surprised and grateful for the result. which wasn’t bad and considerably better than the unfiltered track.
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It has to be said that I’ve seen this just once on French television in absolutely impossible hurricane conditions. The sound was actually too clean, perfect in a way that would not have been achievable even with a boomed rifle mic up the back end of a raccoon. I was so amazed that I even looked for the obvious C/K which was silly because the reporter’s hair and clothes were being almost torn off him and yet it looked too real to have been post synced. I have never forgotten or understood it, I wish I did.
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Umm, not static from the subject’s clothing, a Pacemaker? (that happens), a rubbing lav cable? Low battery? Don’t forget to change radio mic batteries AT LEAST every 4 hours. If the mic was off for a while after the shoot the battery could have “recovered” enough to make it sound OK in the later test.
If that fails, do you have a hard wire option to the mike? If not then carefully change the TX/ RX frequency and see what happens.
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Hi Wes, what you need is phantom power from the camera or, as the others say, an in line power supply. What you need for the ME2 is the MZA 900 P, Try https://www.dv247.com/invt/9078/
The Countryman B3 requires phantom power of between 9 to 48 volts; this is in line with most mics and is what phantom power is there for. B&H will be able to supply you with the right in line supplier I think. Some come as part of a male XLR 3-pin plug (like the Sony EM 77.
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Very true, “we’ll sort it all out in post is” was always a sign of a dodgy technician or Director! However, that said, even the best get caught in unforeseen conditions and the good news is that there is a way of reducing room echo to an extent.
Each room has it’s own echo “footprint” and much of that echo is oddly at a very precise narrow frequency – narrow enough to identify precisely and to EQ out to good effect – without doing too much damage to the rest of the sound; the trick is to spend the time identifying the frequency and not to over do the EQing out.
I do agree though, this is very much an emergency solution to situations that do happen.
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Yes it can be done, at least it can certainly be fed to a Sony MD Walkman as two mono tracks. I made up a splitter cable feeding camera audio out and TC out to a stereo mini jack that sent the two feeds separately to each MD track. Doubtless this could be achieved to MP3 with the right impedance.
It’s a while since I used it but as far as I can remember the TC signal was over strong and needed to be reduced to avoid bleeding. Otherwise all that was needed was to remember to record it to the MD as well as shoot to tape! With a TC reader It was very useful for translation transcripts.