Ty Ford
51
Audio Coins
54
COW Coins
Forum Replies Created
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Quite possibly the problem is that you used Toast instead of Jam. They handle audio differently. Use Jam for mastering CDs.
Regards,
Ty Ford
Ty Ford’s “Audio Bootcamp Field Guide” was written for video people who want better audio. Find out more at https://www.tyford.com
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Except of course in the Creative Cow audio forum.
Regards,
Ty Ford
Ty Ford’s “Audio Bootcamp Field Guide” was written for video people who want better audio. Find out more at https://www.tyford.com
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right again
Ty Ford
Ty Ford’s “Audio Bootcamp Field Guide” was written for video people who want better audio. Find out more at https://www.tyford.com
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A more complete explanation of the problem and the solution is in my little book.
Regards,
Ty Ford
Ty Ford’s “Audio Bootcamp Field Guide” was written for video people who want better audio. Find out more at https://www.tyford.com
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I would not use a shotgun in that situation. I would use a hypercardioid. A Schoeps cmc641. If not that, then a plant mic of some sort on the table.
Ty Ford
Ty Ford’s “Audio Bootcamp Field Guide” was written for video people who want better audio. Find out more at https://www.tyford.com
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Were you sending line level to a mic level input?
Regards,
Ty Ford
Ty Ford’s “Audio Bootcamp Field Guide” was written for video people who want better audio. Find out more at https://www.tyford.com
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Regardless of where the distortion was taking place in the chain, it would have been heard at the camera input (camera headphone jack) if it happened before the camera. A distorted transmitter input, for example, would also be heard at the camera headphone jack.
However, if the distortion was taking place inside the camera — after the camera headphone jack — the distortion would not be detectable until playback.
I have been on shoots when the director, in haste, chose not to allow me to plug in a set of headphones or my mixer’s camera return into the camera. This is a major rookie mistake. He set what he thought was the proper level on the camera input meters. BECAUSE HE DIDN’T ALLOW ME TO LISTEN, HE RECORDED THE ENTIRE FIRST SETUP WITH ME FEEDING HIM LINE LEVEL TO HIS MIC LEVEL INPUT.
Fortunately, I was relentless in asking to hear playback. When it sounded like crap, he discovered what I already feared. Audio is not trivial. You can easily set -18dB work of line level into the mic input and on the meters, it looks fine. In the headphones, however, it sounds like crap.
When do you listen to the camera headphone output? Always, every stinkin’ second. You don’t shoot the scene without looking through the view finder or eye piece.
I’m sure all of us have had our “oops!” moments with this issue. How about it folks? 🙂
Regards,
Ty Ford
Ty Ford’s “Audio Bootcamp Field Guide” was written for video people who want better audio. Find out more at https://www.tyford.com
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Ed,
Instead, I suggest you reach out to the good folks at Sound Devices. They are among the most conscientous in the business.
Regards,
Ty Ford
Ty Ford’s “Audio Bootcamp Field Guide” was written for video people who want better audio. Find out more at https://www.tyford.com