Tom Maloney
Forum Replies Created
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You nailed it TY ! I just got my first 702T. All I can say is wow makes me wonder why anyone would record audio to any video camera, what a differnce. Now all I have to do is convince people shooting to 5D and 7Ds that they should go to a 2 system and just use the cameras audio for a scratch track.
Later
Tom -
Thanks all for all the good answers. Ty I do have a 1/8 adaptor for my snake , wanted to have the return for my headphones. I only heard the loud buzz on playnack not while recording.
” EVERY DAY IS A GIFT, which is why we call it the present”
Alfred Hitchcock
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They had to use the BT because the camera only has 1/8 audio input , no,XLRs
Thanks
Tom” EVERY DAY IS A GIFT, which is why we call it the present”
Alfred Hitchcock
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You have me confused Ty , said mic level was too much for camera but -10 consumer line level was ok ? I had a shoot last month , took audio to Sony X3 ok from my SD302, also took it to a Beachtek on the #2 camera a Canon 5 and mic level out of the mixer did not register anything on the Beachtek. I hate taking sound to a camera where you cannot monitor from a return. Think I’ll have to get a 702T for these kind of jobs, the camera takes beautiful images but audio is lacking. Now we just need to edcuate people with thes cameras that they need to use a double system.
Thanks
Tom” EVERY DAY IS A GIFT, which is why we call it the present”
Alfred Hitchcock
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I use the Petrol Pegz-1 The 301 fits fine along with 3 wirelss RXs, my slate and other things you need to carry on the run, like your lavs, tape etc. Be sure and get yourself a good fitting harness. Ten hour days it will get heavy. The one and only thing I DO NOT LIKE about the bag is it’s curved back where the np battery is stored. It does not lay flat on your stomach, and pushes the mixer out at an angle at times,other than that it is fine. Most good dealers like Trew Audio will surely let you exchange if you don’t like it
Happy Shopping
Tom
https://www.slatemic.com -
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Hey John, I cannot give you an idea on a mic, other than what I learned from the past. I have been in business for 22 years, migrated from a cam op to location audio person because it is so challenging and still enjoyable. First off an on camera mic in most instances is pretty useless. You could use it for ambient sound; forget it for interviews and far shots. As far as price, $200 is not going to buy any product of quality. I would sit down and really examine what kind of video you are going to shoot with your new camera, interviews, docs, weddings or? And that will help to decide what you need. People have misconceptions about shotgun mics, they narrow the pattern of the sound, don’t really bring it closer. Also you just purchased a very good HD camera, and you should strive to get good audio to match it. Hope this helps, not meaning to be negative just hate to see you go thru trial and error and spending money on audio gear. As far as shot gun mics, if I could only have one mic it would be my Sennheiser 416. Note I do not use this mic on camera but on a pole. Before you make a big investment I would try and rent some audio gear and see what works for you.
Tom Maloney
https://www.slatemic.com” EVERY DAY IS A GIFT, which is why we call it the present”
Alfred Hitchcock
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this link will explain better than anything else you can find
https://www.centerforsocialmedia.org/resources/fair_use/
good Luck
Tom Maloney -
Hi , am sure you could do better, but can you compete with the cable companys that make these? You will find they go out and make some of these for $300 . Very hard to compete with that and make any money
Good Luck
Tom -
Philip , sorry you took my post the wrong way. I was just trying to save you the grief and bumpy road I have been down over the years.
Sure a $500 – $600 system can get you by on a shoot most of the time. It did for me, until I am shooting the president of a local hospital in front of 3000 plus and it bit me with dropouts. Or shooting the CEO of a fortune 500 company and he turns slightly from the podium and he voice fades. After a couple of these I decided never again. Of course any wireless can have troubles at any time, but bettering the system lowers the odds IMO.
In a staged shoot I have the liberty to ask for retakes if I question the audio, but in a live shoot I have one chance to get it right, and I do everything possible to make sure I get it.
One thing I have learned from shooting video over the years is if it can go wrong it will.
Good luck, again I don’t think anyone here is trying to do any thing here but help you out
Later
Tom