[Will Salley]

This may help.

https://forums.creativecow.net/cgi-bin/new_read_post.cgi?forumid=30&postid=855539&pview=t#head

System Info – G5/Dual 2 – 10.4.7 – QT v7.1.2 – 8GB ram – Radeon 9800Pro – External SATA Raid – Decklink Extreme – Wacom 6×8

[Will Salley]

Also check out the Yamaha MG series mixers. They are very close in price to the Behringers but, in my opinion, a much better mixer. I own, or have owned, all three brands mentioned. The new Mackie product is not as reliable as the earlier, U.S. made product, and the Behringer stuff is well-designed (for the price), but has horrible components and build quality. If you plan on using the mixer on music gigs, the Behringer won’t last long.

The Yamaha also has more headroom on the mic pre’s.

System Info – G5/Dual 2 – 10.4.7 – QT v7.1.2 – 8GB ram – Radeon 9800Pro – External SATA Raid – Decklink Extreme – Wacom 6×8

[Will Salley]

That could be overmodulation of the wireless. Many budget level systems will have a transmitter side gain adjustment that is designed for a wide range of mic impedances, so it’s easy to overdrive the RF link. The level you see on tape (or on camera meters) would not show any unusually high levels. The overmodulation occurs on parts of audio that reveal it most – low and high end. Midrange is more forgiving and, if it’s borderline over, would not have the problem. These systems also have suspect compander circuits that could contribute to the “swooshy” effect. The best way to prevent this from occuring again is to wear good, over-the-ear, headphones during th entire take.

You said mic placement seems ok – is it within 12 inches of the mouth? If so, does it have some wind protection (windscreen, rycote, etc.)? Some speakers can produce downward plosives that could hit the mic and produce the results you described. Again, the best way to prevent this from occuring again is to wear good, over-the-ear, headphones during the entire take.

As for fixing the problem, it’s probably safe to say that you can’t eliminate it, but that type of noise usually occurs at a lower frequency than your average female voice, so try a shelving filter (lo cut) starting around 180hz and go up until you hear improvement. Also try a de-esser. It is used to reduce silibance and may be able to help the “breathy” portions. Most de-essers are available as plug-ins for DAWs.

If you paid the crew, the soundperson should be held responsible. This is one of those businesses where one persons actions, or inaction, can negate the efforts of everyone else on the crew.
I don’t know why they were using a wireless – a wired, overhead boom is best – unless frame composition make it impossible.

System Info – G5/Dual 2 – 10.4.7 – QT v7.1.2 – 8GB ram – Radeon 9800Pro – External SATA Raid – Decklink Extreme – Wacom 6×8

[Will Salley]

Pretty Cool Indeed…thanks for the info.

System Info – G5/Dual 2 – 10.4.7 – QT v7.1.2 – 8GB ram – Radeon 9800Pro – External SATA Raid – Decklink Extreme – Wacom 6×8

[Will Salley]

[sacci] “end delivery is a 24p DVD”

I’ve never heard of a 24p DVD. Is that data only – for transfer to film?

Your frame rate on a 24p timeline will not sync with PT @ 29.97. You would have to manually sync every shot unless you synced BEFORE capture and let Cinema Tools lock audio. You could also sync all shots after capture but before editing and conversion.

I would recommend editing at 29.97 and then doing the pulldown after it’s finished. You could also record audio at 24 fps if you are sure that will be your delivery frame rate.

I know of no current DVD standard that supports 24p playback…but I might be wrong.

System Info – G5/Dual 2 – 10.4.7 – QT v7.1.2 – 8GB ram – Radeon 9800Pro – External SATA Raid – Decklink Extreme – Wacom 6×8

[Will Salley]

I enjoyed that Ty – didn’t have any problems linking, downloading, or playing back -and it had some decent audio quality playing back through my PB. I’m interested to see how it sounds on the workstation setup. Are there instructions for using iweb? I already have a .mac account.

Thanks,
Will

[Will Salley]

I received Avid certification back in ’96 and I don’t think I’ve thought about it since…although I began using Media 100 soon after, so maybe that had something to do with it.

Jerry is correct however, it will open up some new ways of working and maybe even some capabilities that you didn’t have before.

Let know what you decide.

System Info – G5/Dual 2 – 10.4.7 – QT v7.1.2 – 8GB ram – Radeon 9800Pro – External SATA Raid – Decklink Extreme – Wacom 6×8

[Will Salley]

You really need a sound person. Trying to capture good, usable dialogue requires the attention of someone OTHER than the person doing the shooting. That’s why in almost every network news shoot or high-end documentary there is at least one soundman on the crew.

If your budget simply will not allow for a professional sound person, you should get someone to setup sound and monitor dialogue. If you plan on operating the camera, you will have your hands full and if something should not go as expected (and it will), you don’t have worry about recording good sound.

Incredibly good-looking interview footage is absolutely useless without usable sound.

[Will Salley]

[Ty Ford] “When I looked, the Panasonic you mention only has mic level inputs.”

Ty, The HVX-200 does indeed have line level, however, the manual states it is 0dBu, not +4dBu.

System Info – G5/Dual 2 – 10.4.7 – QT v7.1.2 – 8GB ram – Radeon 9800Pro – External SATA Raid – Decklink Extreme – Wacom 6×8

[Will Salley]

[Khashyar Darvich] ” it does not matter much how LOW the audio level is, as long as it sounds good on the headphones”

Not true.
Although well-designed and built professional equipment will generally provide a clean signal at less-than-optimum levels, it will need to be boosted (gain added) for proper levels during mixdown. As the level is increased, so is noise.

Audio recorded at the optimum level – which is, theoretically, the highest possible level before distortion due to clipping – will ALWAYS sound cleaner than audio recorded at a lower level.

Headphones are not a very accurate way to monitor audio that is intended to be reproduced on loudspeakers – It’s just the most practical way at this time. For example, the next time you happen to be recording a take and a car with the dreaded boomy bass drives by. Play it back in the field with cans on. Chances are, you won’t hear anything. Then take it in the studio and listen to the same take. Unless a low-cut filter was used, you will probably hear the thumpy stuff.

System Info – G5/Dual 2 – 10.4.7 – QT v7.1.2 – 8GB ram – Radeon 9800Pro – External SATA Raid – Decklink Extreme – Wacom 6×8