[Will Salley]

James, I wish you luck in your quest to make a living as a location sound person. I’ve been making a fairly decent living for over 20 years and have just recently decided to stop doing location work…or at least, slow down a bit. The primary reason for this is that I’m getting to — old to be following around a cameraman for 12 hours a day. But, the other reason is the industry has changed and it is now very difficult to make a “decent” living while still maintaining high production values. Here’s why:

– Many production companies are now run as big businesses are and have little concern for the quality of product, only the amount of profit. I’ve turned down more days of work in 2010 – because of unacceptable pay – than days I worked. For years, producers would call and ask, in detail, about my gear and my experience, which I welcomed. Now, all they ask about is if I’m willing to do a flat-rate day for $450, which means they are PLANNING on working the crew until you fall down dead, and then expect to pay no overtime.

– With the plethora of reality show production, there has been more production overall, but less money budgeted, per person, on the crew. Sound ops are expected to be able to handle massive amounts of wireless channels and be extremely portable. Most producers ask for a wireless link to camera – so they have no idea if a particular take was “good for sound” (see below). Coming from a film-based, commercial production background, this is rubbish.

I have also been involved in music production and find the two fields similar in that good equipment is often a requirement but it does not guarantee a better result. The basic act of setting a mic, running it into a preamp, then mixing it with other mics, and sending it off to be recorded is identical, but there are also huge differences.

In sound for film, noise is always your enemy. Noise can be anything OTHER than the intended source be it tape hiss, room noise, traffic, planes, clothing rustle…anything.

Equipment choices should follow that rule. It needs to be durable, compatible, and often compact, but most of all, it needs to produce very clean audio.

One last point – Take the time to sit in on several edits. It can be a mix session with Pro Tools or it can be the video edit where the raw parts are assembled. Listen to what the editor has to say about the quality of sources, about the way a track mixes with the others, and how consistent levels may, or may not be recorded. You will learn more about field production in the edit suite than you will anywhere else because that is where problems are revealed. Learn to listen “for the edit” and how to solve the inevitable problems of capturing clean, uncolored sound when conditions are against it. That will get you appreciated by the producers and editors than anything else. It’s also helpful to learn to recognize the levels of acceptable noise in situations where it’s just not possible to get away from it. Listening on headsets is tricky and intelligible dialog is not always as obvious in the edit suite or further along.

Now, Let’s hope they will then pay you what you are worth.

Mac Pro 2×2.8 Quadcore – 10.6.3 – QT 7.6.3 – 22 GB RAM – nvidia8800GT – SATA internal & external storage – Blackmagic Multibridge Pro – Open GL 1.5.10 – Wacom Intous2 tablet – AJA io
SONY XDCAM EX3 – Letus Elite – FC7.0.2 – CS4 Prod Prem.

[Will Salley]

[Tom Maloney] ” told the DP to use a different camera because I could not guarantee any audio to this camera, we used a different one.”

Keep saying that until they get the message.

The little consumer-level camcorders are great for consumers and student projects, and maybe even an indie film project, but they fall way short on the necessary audio tools for day-in/day-out production. My standard disclaimer (which I put into writing), is that if they choose to use a camera without balanced XLR inputs, readable and working meters, and low-latency and working headphone amps, they do so at their own risk. (This obviously rules out a bunch of cameras, mostly the Panasonics and almost all JVC) I assume no responsibility for the audio. Yes, I’ve lost a few jobs but I also gained a few as some producers appreciate the professionalism.

Even double-system with the larger Panasonics (3000 &5000) is scary because the time code output bit is locked to 29.97 even shooting at 24 or 25. The TC reads 24 fps, but the bit flag sends it as 29.97, so recorders such as the 744T cannot accurately sync to these cameras (unless they have fixed it). My XDCAM EX even has a noisy headphone amp but it’s good enough to make a judgement on usable takes.

Back to clappers.

Mac Pro 2×2.8 Quadcore – 10.6.3 – QT 7.6.3 – 22 GB RAM – nvidia8800GT – SATA internal & external storage – Blackmagic Multibridge Pro – Open GL 1.5.10 – Wacom Intous2 tablet – AJA io
SONY XDCAM EX3 – Letus Elite – FC7.0.2 – CS4 Prod Prem.

[Will Salley]

In my opinion, your first consideration should be using a polarizer. That much “air” and sky will need it. Aerial shots can get really hazy, at least here in the southeast. In the desert west it’s much less of an issue. Shoot wide and fly low and slow for best results.

Then I would be find out a way to steady the camera. Small planes are going to be very choppy (think a small boat in ocean swells). Using a bungee is going to help with the vibration but will probably make it impossible to hold a steady shot if there is any turbulence. If you can keep the weight down on the EX-3, a bungee might be of help. I’ve tried it with heavier cameras and they just bounced too much.

Media cards – can you rent or borrow more? It sounds like you’re inviting trouble by using the two cards. SxS is more reliable and can be overcranked, but so can class10 SDHC (with fimware update). I’m just not sure I would trust the SDHC overcranking completely. I think your plan to overcrank is a good one however, and you can get some nice footage. I do think 1080/30p would give the best image quality but it really depends on your intended use.

Good luck…and don’t forget to strap the camera to the seat!

Mac Pro 2×2.8 Quadcore – 10.6.3 – QT 7.6.3 – 22 GB RAM – nvidia8800GT – SATA internal & external storage – Blackmagic Multibridge Pro – Open GL 1.5.10 – Wacom Intous2 tablet – AJA io
SONY XDCAM EX3 – Letus Elite – FC7.0.2 – CS4 Prod Prem.

[Will Salley]

Very nice design. I think your solution for mounting the camera with the large thumbwheel is unique but may add unnecessary weight to the front. If it’s aluminum, it may not matter though.

One peculiar thing I have noticed about trying to shoulder mount the EX-3 is the tendency to pitch to the left because of the weight of the viewfinder. It could be remedied by offsetting the mount a little to the left. Ideally, it would be adjustable – but that would add weight and may make it less stable. Maybe a slotted screw hole oriented perpendicular to the lens?

Anyway, it’s an interesting potential product and I think you could have a winner.

FWIW, I’m using the EX-3 with a Letus Elite and a KiPro mounted on the rear rails. I have a Redrock Micro shoulder mount but it elevates the camera a bit too much.

Mac Pro 2×2.8 Quadcore – 10.6.3 – QT 7.6.3 – 22 GB RAM – nvidia8800GT – SATA internal & external storage – Blackmagic Multibridge Pro – Open GL 1.5.10 – Wacom Intous2 tablet – AJA io
SONY XDCAM EX3 – Letus Elite – FC7.0.2 – CS4 Prod Prem.

[Will Salley]

Go to the receiver and engage the 1k tone. If your inputs are set to MIC level and the receiver is not attenuated (it should be at 0db), you should hear clean tone and see good meters on the camera.

Also, if you are using the UM400a transmitter, it adds 10db more gain than the older model, which sometimes sounds like more RF hiss.

Let us know what you find.

Mac Pro 2×2.8 Quadcore – 10.6.3 – QT 7.6.3 – 22 GB RAM – nvidia8800GT – SATA internal & external storage – Blackmagic Multibridge Pro – Open GL 1.5.10 – Wacom Intous2 tablet – AJA io
SONY XDCAM EX3 – Letus Elite – FC7.0.2 – CS4 Prod Prem.

[Will Salley]

If you must pan fast…

https://www.newbluefx.com/video-essentials-iii.html

Mac Pro 2×2.8 Quadcore – 10.6.3 – QT 7.6.3 – 22 GB RAM – nvidia8800GT – SATA internal & external storage – Blackmagic Multibridge Pro – Open GL 1.5.10 – Wacom Intous2 tablet – AJA io
SONY XDCAM EX3 – Letus Elite – FC7.0.2 – CS4 Prod Prem.

[Will Salley]

Lou, all good advice form above and I would add a few thoughts –

Let the video edit go to completion until it is FINAL. Get a signed statement from the director or promise of his first born, something, to assure you that the “picture is locked”. Then, and only then, do you begin cleaning and sweetening your dialog tracks. As stated above, mix the dialog in mono, don’t even think about panning from dead center.

If you have access to Pro Tools and can afford to spend around $500, invest in the DV Toolkit or Production toolkit and use it to edit. You will need to have the rough audio tracks, along with the lock picture, exported as an OMF to be able to open in Pro Tools. There you can cut out, rubber band, or crossfade the clips to get the best results. Adobe Audition might work, but I don’t think you can import OMFs, which keeps the tracks separate but still in sync.

After you get a good dialog track, then you can come back and add room ambience and effects on a different track. I will also tell you that much of the dialog you hear in feature films and broadcast commercials is ADR, which is to say it’s recorded after the fact in a controlled environment while “lipsyncing” to the playback.

Good luck.

Mac Pro 2×2.8 Quadcore – 10.6.3 – QT 7.6.3 – 22 GB RAM – nvidia8800GT – SATA internal & external storage – Blackmagic Multibridge Pro – Open GL 1.5.10 – Wacom Intous2 tablet – AJA io
SONY XDCAM EX3 – Letus Elite – FC7.0.2 – CS4 Prod Prem.

[Will Salley]

I’ve had no problems whatsoever with Snow Leopard and Clip Browser V2.6. I’ve been using it, FCP, and XDCAM Transfer 2.11 for 3 or 4 months almost everyday.

Mac Pro 2×2.8 Quadcore – 10.6.3 – QT 7.6.3 – 22 GB RAM – nvidia8800GT – SATA internal & external storage – Blackmagic Multibridge Pro – Open GL 1.5.10 – Wacom Intous2 tablet – AJA io
SONY XDCAM EX3 – Letus Elite – FC7.0.2 – CS4 Prod Prem.

[Will Salley]

First, Make sure the power plug is connected back into the battery. It has what looks like just a holder but it is a real plug and needs to complete the connection in order for the battery to reach a full charge. Having said that, I did have one Switronix arrive DOA and exhibiting the same blinking LEDs. They exchanged it and no problems since.

Mac Pro 2×2.8 Quadcore – 10.6.3 – QT 7.6.3 – 22 GB RAM – nvidia8800GT – SATA internal & external storage – Blackmagic Multibridge Pro – Open GL 1.5.10 – Wacom Intous2 tablet – AJA io
SONY XDCAM EX3 – Letus Elite – FC7.0.2 – CS4 Prod Prem.

[Will Salley]

[Peter Groom] “What level is produced by an active pick up in a semi acoustic guitar”

It SHOULD be “instrument” level, or roughly -22@1v (according to my very old 1960s reference manuals). But since it’s an “active” system it’s probably a lot higher, maybe closer to -10 (consumer line levels). As Ty mentioned, it really depends on the actual system, the level of the battery and the load presented.

The output jack is wired TIP=signal/SLEEVE=ground. Some guitars do have a balanced output but they are rare, and they output a +4 level, usually through an XLR. also called a built-in D.I.

I guess I’m showing my age with that “instrument level” comment, eh?

Mac Pro 2×2.8 Quadcore – 10.6.3 – QT 7.6.3 – 22 GB RAM – nvidia8800GT – SATA internal & external storage – Blackmagic Multibridge Pro – Open GL 1.5.10 – Wacom Intous2 tablet – AJA io
SONY XDCAM EX3 – Letus Elite – FC7.0.2 – CS4 Prod Prem.