[Ty Ford]

[Ana Maria Suarez] ”
I have a Sennheiser ME 66 shot gun microphone. Would this be a good mic for holding over the person?
Should I run that mic direct from the camera?

>>>>Hello Ana and welcome to the Cow Audio Forum.
Shotgun mics (mics with interference tubes) are not good in reflective areas (like most indoors sets) unless you have a three wall set with no ceiling. Or unless you d a lot of sound-proofing. Otherwise, the mic of choice is a hypercardioid or supercardioid with no interference tube. Top of the line would be a Schoeps cmc41.

I am on a low budget. If you recommend a better mic let me know.

>>>>Everyone’s on a budget. If you want to do a good job you need the right tools. You can’t afford to buy cheap.

I was looking at the H2 Zoom for 180.00$ it has ok reviews and thinking I could hold that over or under my characters when they talk.

>>>> Nope.

What are some things you would recommend. Mics, do I hook direct to my camera or computer.

>>>> You might try that, but the pros use a good mixer between the mics and cameras.

Is it a pain to always sink audio from a seperate source with your video in Premiere?

>>>> Dunno, haven’t tried it with Premiere

I am filming this for myself and for a film contest. So I would like the sound good enough if it were to be shown on a tv. A dream of mine. The only drawback is the money, so I am willing to get “just good enough” audio equipment. “

>>>>Then don’t expect your sound to be as good as that which you hear on TV. 🙂

Regards,

Ty Ford

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[Ty Ford]

Hello Jon and welcome to the Cow Audio Forum,

Have you made any changes and/or upgrades to Pro Tools?

Have you tossed out the files as Digi suggests? They have a page of things to do when things get weird. It’s on their DUC on the Digi website.

Regards,

Ty Ford

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[Ty Ford]

Hello Tom and welcome to the Cow Audio Forum,

The Sound Devices 744t (and new 788T) can record as four (or eight) separate files or as a poly wav files. A poly wav file shows up as one file icon, but has multiple tracks, all linked together.

When you import it into FCP, it distributes the files all in sync with each other and on the timeline. It’s VERY cool.

As regards stereo tracks in FCP, you can unlink them even if they come in as a stereo pair.

Regards,

Ty Ford

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[Ty Ford]

Hello Dan and welcome to the Cow Audio Forum.

I am a PTLE user. 7.3.1 right now.

Something’s not right. Have you upgraded anything recently?
There is a list of things to do on the Digi website when stuff gets wacky.
The list may vary depending on the version and whether you’re on a Mac or PC.

I’d get that list, do the things on it and restart.

You may also have one corrupted production that simply won’t work anymore.

Try another one after you “take out the trash.”

Regards,

Ty Ford

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[Ty Ford]

Hello Matt and welcome to the Cow Audio Forum,

When you say on camera mic, do mean a mic for on camera talent or a mic mounted on a camera? The latter won’t get you good audio in the field, particularly if you are going after the commercial market.

Getting good audio while shooting on location requires a mix of wireless lavs, boom mics and handheld. Oh, and a good mixer too.

Wireless lavs: Audio Technica 1800 series or Sony G series
Boom mics: Schoeps cmit and/or cmc641, Sanken CS-3e, Audix scx-1 HC
Handheld: EV RE50

There’s a lot more to it than that, but that answers your initial question.

Sadly, none are in the cost range you wish. The NTG-1 and NTG-2 are good for the money, but they don’t sound like the above mics.

Audio is not as expensive as camera tripods or heads, but you do have to spend to get quality stuff.

Regards,

Ty Ford

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[Ty Ford]

David,

To be totally fair to Apple, Pro Tools LE doesn’t show calibrated input levels.

I’m just ranking on them because the Soundtrack GUI cold easily be much more friendly to audio pros. You’d think they’d want that. I guess not.

Regards,

Ty Ford

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[Ty Ford]

Hello David and welcome to the Cow Audio Forum,

Thanks for the slow pitch. I’ve been irked for sometime with Soundtrack Pro. To the extent that I applied for a job at Apple to come in and help them re-do the GUI so it could be (a lot) more useful.

(Please forward this to Apple if you are reading this. I have yet to hear from them regarding my proposal. I don’t want a full-time job there, just pay me a straight contract to help make SoundTrack pro work better.)

Metering functions are sparse. My only practical advice to you would be to experiment with your spoken word to see when the audio clips, then back off.

Regards,

Ty Ford

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[Ty Ford]

Hello Marcella and welcome to the Cow Audio Forum,

Depending on how you want to shoot and edit, you can try something as simple as the small Olympus I use. It shoots 15 fps quicktime movies with sound and is about the size of a bar of soap.

Look here for the NAB2008 folder to see recent samples.

https://idisk.mac.com/tyreeford-Public?view=web

Regards,

Ty Ford

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[Ty Ford]

Hello Matthew,

Easy is a relative term. Anytime you double record things get less easy.

With the right technology, syncing in post can be done automatically. It can certainly be done manually if you use a camera mic for a guide track.

If your camera outputs timecode, you can use BoomRecorder software and a hardware interface with a firewire output to a computer. You plug the timecode into one of the audio inputs and BoomRecorder automatically recognizes it as time code. It records and displays it. That should help your post process.

BoomRecorder supports 24-bit, even 32-bit audio.

https://www.vosgames.nl/products/BoomRecorder/

Regards,

Ty Ford

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[Ty Ford]

Hello Din and welcome to the Cow Audio Forum,

Do you mean D/ESAM?

What specific features of the Sound Devices recorders are you trying to control?

What current D/ESAM equipment are you using?

Regards,

Ty Ford

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