Thaxter Clavemarlton
Forum Replies Created
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If they want two separate entities to do the shooting and the editing, then they are taking a risk.
In the best of these situations a well-informed “producer” would be on-site during the event(s) suggesting shots, watching what is being recorded (maybe with a video monitor,) and taking notes as to time codes, etc.
That producer would then either personally supervise the edit and/or at least leave the notes with the editor.
Barring that kind of supervision, you can only “do the best you can” in covering what’s on your shot-sheet (list of shots) and hope that the editor can find everything in post.
(Shooting weddings is not for the timid.) 😉
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It’s not very hard to create a reasonable facsimile of the effects in the video.
Below is one of the many parodies of this infamous video
with some knock-off effects that work pretty well-https://www.youtube.com/watch?v=3c5LPQld7OM
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Even after well over half a decade of editing FCP,
I still sometimes get caught by that one. -
After you drop the filter onto the clip, you need to “double-click” that clip into the Browser window.
Then, you can see the adjustments. -
If there’s a way to display (on a video monitor) the time code from the audio recorder, you can manually sync with fewer problems.
(You could just set up a small video camera shooting a close-up of the unit’s TC display, then feed that camera to a video monitor that’s facing the area where you’re recording the band.)
As you start to shoot each take, flip the camera around a grab a few seconds of the audio recorder’s TC as it displays on the video monitor.
(Do that on EACH re-start.)Then, in the edit, you’ll have a few seconds to view (in each shot) the original TC visible in the video.
BUT, your actual in-camera TC will be continuous and clean.That can save you a lot of post production headaches.
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[Guthrie Andres] “So I’m the GM of a small poorly funded student TV station.”
[Guthrie Andres] “Is there a device that can find a happy medium between these two extremes, essentially leveling out the loud and soft?”
We always called ours “the master control engineer.” 😉
Do you have someone operating the station… playing the programs, and “breaks?”
Yes, AudiMax and VoluMax -type gear will help keep you “legal,” but a human being operating the on-air board can manually set the proper level on each source.
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If you send both the transmitter and receiver units to me I will replace the antenna.
And, I won’t charge you anything.
Sennheiser charges $75 for this, I charge $00. Contact:😉
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I’ll come at this from another direction.
If you are just recording in mono, I don’t see any need to combine the outputs from “both sides” of a stereo mic.
In fact, I think that could cause some unwanted phase issues that would degrade the signal.
My suggestion would be to only connect one “side” (channel) of the mic to the recorder’s input.
Mono mic,
mono recorder,
mono recording. -
I don’t know what you mean by “left shadows everywhere they shouldn’t be.”
Can’t suggest a good workaround until I know what you’re trying to reduce.
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[Thomas Morter-Laing] “How do I reduce that slight ‘roomy’ effect which sounds like he’s in a hollow room, by using filters etc?
“Other than adding some EQ, you can’t get rid of “off-mic” echo.
It’s one of the common (and difficult to correct) recording problems.
The problem is better addressed (really ONLY effectively and practically addressed) during the recording process.
This problem is very common in location work.
It is why many larger productions resort to ADR (automated dialogue replacement) recorded back in the studio after the shoot.