Ty Ford
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Hello Jim and welcome to the Cow Audio Forum.
Tom’s spot on here. 3-4 feet is marginal for a camera mounted mic. 6-8 feet is a recipe for disaster.
The Inside/Outside rule for interference tube shotgun mics is mutable. The real issues are the reflectivity of the environment and how much ambient noise there is.
Shotgun mics like the 416, while directional at higher frequencies, are much more non-directional at middle and low frequencies. That’s why the director calls “Quite On The Set!”
Booming from below begs the question how far below? If you can’t get any closer than 18 inches above or below, you’re probably better off using the lav, even though it’s an omni, depending on the level of ambient noise.
With the 77B, make sure the end of the mic is pointed towards the mouth of the person speaking. Even omni mics are directional at high frequencies.
I have used my cmc641 Schoeps in a zep outside and been very happy with the sound. It was boomed, it was no more than two feet from the person speaking, the ambient noise was relatively low.
Regards,
Ty Ford
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“Too business oriented?” snort!
I remember when Flight Three closed it’s doors here in Baltimore. Clients wanted their stuff. Flite Three was willing, but at an hourly rate because the archived pieces were serialized onto one main archive and not by client. There was some fuming. Clients thought they should just pick their stuff up for free.
I was somewhere in the middle on this one. The clients should have been happy there were archives. I never found out if Flite Three told its clients that they’d have to pay for retrieval. I’m guessing they just built that into the normal session fees.
Regards,
Ty Ford
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I am shocked and appalled by the lack of attention to the issue of consumables in this contract! The lack of provisions that would require that the signer pay for all food and drink during preproduction, production and post production is a careless oversight. When will we, as industry professionals, realize and accept the responsibilities of our work!
Ty Ford
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1. Noise reduction. When I apply the Noise Filter in Soundtrack Pro, it achieves almost nothing, unless I choose such an extreme setting that an odd, science-fiction type distortion appears. What would you think of applying EQ first? If so, is there a method for analyzing the desired and undesired portions of the clip, to help determine which frequencies to boost, and which to mute? iow, is there a “frequency analysis” filter which will give me information for EQing?
> There is a graphic spectrum analyzer option in STP that can show you where (what continuous frequencies) may be causing problems and a graphical editor to remove them.
Would applying the Noise Filter several times help to prevent that odd distortion problem?
> maybe, maybe not
2. Workflow. Although they’ve been broken up into many clips in the timeline, there are only five original clips for the entire show. So this should be easy. But the background noise does change from time to time, and because sometimes the left channel is better, sometimes the right, the timeline in Final Cut Pro looks quite checker-boarded. And because the edited show is 8 minutes out of a one-hour session, there are minor changes in the noise in the background.
If I send the clips from FCP to STP, each edited clip has to be handled in STP separately. Could/should I just do the EQ/Noise Reduction for the entire original clips? If so, what’s the best way to do that? I’d be a little scared about destroying the originals, of course, so I guess I would make offline copies of them first.
>based on what you say, varying noises, I’d be apt to try each one separately as ling as they weren’t right next to each other on the timeline.
(Thanks for reading this lengthy post. I tried posting in the Soundtrack Pro forum first, but received no replies.)
>We’re always happy to help when we can. I have a VERY similar problem over here right now, Bob.
Regards,
Ty
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[Sam Mallery] “UHF is better because it’s a higher frequency. However, the DTV transition just wiped out a portion of the UHF spectrum that some mics operate on, so you have to be mindful of this when buying a system, especially a used one (the 700 MHz band has been disrupted by DTV). “
Um, higher frequency doesn’t always yield better results. When a lot of people moved to UHF, VHF was less crowded and actually improved. For the same mW of power, VHF will actually propagate farther than UHF. In most location shoots, the difference would be negligible.
The audio bandwidth for the specific transmitter/receiver combo comes into play also as regards the full frequency response of the system in question.
Regards,
Ty Ford
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call me
410.296.2868
Ty Ford
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Later, it occurred to me that etymotic has been getting good reviews for their gear.
I haven’t tried their gear. I’ve only heard about it.
Regards,
Ty Ford
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Hello Sebastian and welcome to the Cow Audio Forum.
This question gets asked a lot. Please put “wireless mic” into the search field and see what’s been said. When you run into Sennheiser G2, remember the new model is the G3.
Regards,
Ty Ford
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John,
No Problem.
This one from AT works well for me and is pretty sturdy as far as lavs go. You can get it with different terminations.
https://www.audio-technica.com/cms/wired_mics/e7e24e09738e83de/index.html
For over the ear, I like the Countryman E6. I used one hard-wired on Gerry Clarke for his vocals on this shoot.
https://www.vimeo.com/5330259Regards,
Ty Ford
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1.Did you discard the other track?
2. What mic do you have plugged in?Ty Ford
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