Hi,

Just wondering what the advantages are of running a boom into the 702T and then out to camera, what are the advantages other than dual redundancy.
If someone is doing this, are you still replacing the audio going into camera with the recorder's audio files?

I don't know if there's more than the redundancy, but that's a lot. It let's the editor have a visual sync for one thing. Besides, if they can't find the right file, what do you want them to use, the camera mic or the scratch track you gave them?

You can record at 24 bits to the SD702 for more safety. Other than that and redundancy there is no benefits. I do slightly similar thing quite often, lavaliers to camera & boom mic(s) to SD722. Usually the SD722 file is not needed, sometimes some of it is mixed for ambience (cooking, makeup videos).

If you weren't using the 702T would you use a mixer of go straight to camera?

The 702T or a mixer will likely have better preamps, better limiter, better roll-off than the camera.

I believe the 702T can be slaved to the camera's TC so when the camera hits record, your 702T will also start recording.

...
I believe the 702T can be slaved to the camera's TC so when the camera hits record, your 702T will also start recording.

IF you have a camera that has timecode output - virtually no consumer cams that I know of and very few prosumer cams do.

Hi,

Just wondering what the advantages are of running a boom into the 702T and then out to camera, what are the advantages other than dual redundancy...

Having a good master recording from the camera can sometimes be helpful to use as a reference to line up the 24 bit audio...even if TC is locked.

Basically, it allows you to zoom in on the timeline and match sine wave to sine wave.

Also, if you are in the habit of watching the dailies or watching your takes...you want to make sure the audio is good. The camera should get good reference audio for quality control purposes.

If you weren't using the 702T would you use a mixer of go straight to camera?


The quality of the 7xx series recorders is outstanding, much better than going direct to a camera. However, they really are harder to use as a replacement for a mixer than I would have expected.

I would suggest that if you are going to try replacing the mixer with the 7xx series, try it first before you really intend to use it. You may be OK with the way it works as a replacement to the mixer, but my guess is if you were using a mixer previously, then you'll want to continue using the mixer in front of the 7xx recorder. But then again, you may be able to deal with the way the audio adjustments work.

Wayne

The quality of the 7xx series recorders is outstanding, much better than going direct to a camera. However, they really are harder to use as a replacement for a mixer than I would have expected.

I would suggest that if you are going to try replacing the mixer with the 7xx series, try it first before you really intend to use it. You may be OK with the way it works as a replacement to the mixer, but my guess is if you were using a mixer previously, then you'll want to continue using the mixer in front of the 7xx recorder. But then again, you may be able to deal with the way the audio adjustments work.

Wayne

thanks, i actually was using the mixer and 702T combo. I was mostly using one boom and found no reason for the mixer, i always used one mic.
I really got used to the smaller knobs of the 702T and its limiters, preamps, and meters are excellant. I do see that using the camera input audio from the 702 can be a scratch track, but sometimes there's situations where the camera operator can not be tethered to the sound recordist. I find myself just using the on camera mic as a scratch track and it works well.

Just wondered if i was missing something as using the 702 just for its preamps and sending it out to camera is a waste. I'm talking about just using the camera's audio as a final not the recorder's files.

thanks

but sometimes there's situations where the camera operator can not be tethered to the sound recordist.

This is where if you want to record the audio from the boom op, you have go wireless. The camera get's the receiver and the boom op/sound recordist has the transmitter end which is fed from the mixer output.

Wayne