Josh Bass
August 13th, 2003, 09:37 PM
Okay, so some of the things I've worked on recently have had terrible audio. After hours of setting up lights, shots, etc. it really sucks to have audio tear down your production and make it amateurish crap.
I'm currently working with my Sennheiser ME66, the Canon MA100, and the Canon XL1s. These are my audio acquisition tools at the moment. What I need to do is ensure I get the best quality stuff I can out of this setup that I can.
During acquisition, looking at the audio meter on the XL1s, what do I not want to go past? -12? -6? 0? I thought -12 was the digital equivalent to 100% on an analogue VU meter. Is this right?
On the ME66, what are recommendations for settings as far as the bass rolloff switch goes, for dialogue and other sound (foley work, for example)? Seems having the bass rolloff turned on can make voices a little tinny, while off the seems to pick up all sorts of extra crap.
On the XL1s, what are the recommendations for settings as far as using the MIC or MIC ATT setting for the MA100 inputs, for dialogue recording and other stuff (like foley, again). I was told MIC ATT might be more appropriate for dialogue, as the camera adds gain and some more technical stuff I don't remember.
When mastering for final output (yes, for broadcast), what do I not want the audio to go past (this is judging from Vegas 4's audio meter. It IS accurate, isn't it?) This guy told me something I'd done recently was way too low--I know most of it was past -12 on the meter. His way of telling whether stuff is the right level is to plug his camera into the TV, put a tape with the output on it, and then play the tape, see how it sounds, then change the TV to regular channels and see how loud/soft they are by comparison. Good method? He says it works for him.
Think that's all of them.
I'm currently working with my Sennheiser ME66, the Canon MA100, and the Canon XL1s. These are my audio acquisition tools at the moment. What I need to do is ensure I get the best quality stuff I can out of this setup that I can.
During acquisition, looking at the audio meter on the XL1s, what do I not want to go past? -12? -6? 0? I thought -12 was the digital equivalent to 100% on an analogue VU meter. Is this right?
On the ME66, what are recommendations for settings as far as the bass rolloff switch goes, for dialogue and other sound (foley work, for example)? Seems having the bass rolloff turned on can make voices a little tinny, while off the seems to pick up all sorts of extra crap.
On the XL1s, what are the recommendations for settings as far as using the MIC or MIC ATT setting for the MA100 inputs, for dialogue recording and other stuff (like foley, again). I was told MIC ATT might be more appropriate for dialogue, as the camera adds gain and some more technical stuff I don't remember.
When mastering for final output (yes, for broadcast), what do I not want the audio to go past (this is judging from Vegas 4's audio meter. It IS accurate, isn't it?) This guy told me something I'd done recently was way too low--I know most of it was past -12 on the meter. His way of telling whether stuff is the right level is to plug his camera into the TV, put a tape with the output on it, and then play the tape, see how it sounds, then change the TV to regular channels and see how loud/soft they are by comparison. Good method? He says it works for him.
Think that's all of them.