How about good quality Audio?

Keith Paisley · February 10th, 2009, 08:25 AM

Quote:

Originally Posted by Michael Schoenfeld

Hey everyone,

Michael Schoenfeld here,

I use the Zoom H4 - it's pretty good based upon what mic you attach.

I have two options - Beer, and champagne.

Sennheiser G2 with a Countryman B6 (Beer)

Schoeps CMIT5 (Champagne)

The tricky part is not to forget that the "normal" file will be 30P, NOT 29.97 in the US of A, so it needs to be conformed with some tool so the movie AND the audio file will sync perfectly.

I conform all my files with MPEG Streamclip to 29.97 and the audio sync works that way - the timeline wants to make the clip "out of sync" with the H4 file because of this stupid Canon thing - why oh why Canon, are you not making this camera pro friendly (I "know" the answer (as good as anyone can) so no flames, please).

The nikon and zeiss glass is the only way to fly with this beast right now - thanks Canon,

Michael Schoenfeld

Just to clarify, are you having synch problems when putting 5d footage on a 29.97 timeline or are you having problems even on a 30.00 fps timeline? I ask because I ran some tests of several long clips (using MP3s captured simultaneously with a microtrack II) and with Vegas I'm seeing something on the order of perhaps 10ms of drift across a 13+ minute segment. It doesn't seem to matter whether or not the project is set at 29.97 or 30.00 fps.

Bill Binder · February 12th, 2009, 12:16 PM

People, this is not that difficult to understand. No one should be expecting perfect sync for long periods, it really is that simple.

If you are: (1) using a separate device to record audio and (2) not fully timecode jammed/synced, then drift will -- in all likelihood -- occur to some extent or another. That's true for even the most pro recorders in existence and may occur regardless of 30 or 29.97 fps or 44.1 vs. 48 kHz. Even two SD744s will potentially drift from one another over extended times if they aren't jammed, and that's two of the exact same high end units.

So, if you don't have drift problems over extended periods, you should consider yourself lucky, and if you do have drift issues, you should consider that to be pretty normal.

Brian Boyko · February 12th, 2009, 12:51 PM

To me, the dual-system single system comes down to one thing: Redundancy. One little blip of static can ruin a shot unless you have a second audio source.

(In one particularly telling moment, my acting-DoP, who was really my PA, who was filling in for my REAL DoP who was arrested for terrorism - long story - actually forgot to turn on the microphone for a few minutes while recording. I'm damn glad the backup audio was running then!)

I record dual system when I can, but I always make sure to use the really good stuff on the camera if I have to choose between the two. I'd rather have a good audio track on the camera than have to sync in post.

I've recently become a convert to the XLR workflow - get a Juicedlink or Beachtek - I prefer the former for the preamp - and you should be fine.

Peer Landa · March 4th, 2009, 08:07 AM

Quote:

Originally Posted by Don Miller

For music I use the Apogee Duet to a Macbook Pro (Mac only):
Apogee Electronics: Products: Duet This has an A/D converter close in quality to their recording studio products.

Although Apogee has always made topnotch products, I still would recommend a Sony PCM D-50 for this kind of usage that we're talking about here.

-- peer

Jason Linn · March 4th, 2009, 11:55 AM

does anyone know of a way to monitor mic levels BEFORE they get into the camera? I was thinking some type of small adapter that the mic could plug into before going to the mic input on the MK2?

February 12th, 2009, 12:51 PM	#78
Brian Boyko Major Player Join Date: Dec 2006 Location: Austin, TX Posts: 773	To me, the dual-system single system comes down to one thing: Redundancy. One little blip of static can ruin a shot unless you have a second audio source. (In one particularly telling moment, my acting-DoP, who was really my PA, who was filling in for my REAL DoP who was arrested for terrorism - long story - actually forgot to turn on the microphone for a few minutes while recording. I'm damn glad the backup audio was running then!) I record dual system when I can, but I always make sure to use the really good stuff on the camera if I have to choose between the two. I'd rather have a good audio track on the camera than have to sync in post. I've recently become a convert to the XLR workflow - get a Juicedlink or Beachtek - I prefer the former for the preamp - and you should be fine. __________________ Equip: Panny GH1, Canon HG20, Juicedlink, AT897, Sennh. EW/GW100, Zoom H2, Vegas 8.1

February 12th, 2009, 12:16 PM	#77
Bill Binder Major Player Join Date: Jun 2005 Location: San Francisco Posts: 542	People, this is not that difficult to understand. No one should be expecting perfect sync for long periods, it really is that simple. If you are: (1) using a separate device to record audio and (2) not fully timecode jammed/synced, then drift will -- in all likelihood -- occur to some extent or another. That's true for even the most pro recorders in existence and may occur regardless of 30 or 29.97 fps or 44.1 vs. 48 kHz. Even two SD744s will potentially drift from one another over extended times if they aren't jammed, and that's two of the exact same high end units. So, if you don't have drift problems over extended periods, you should consider yourself lucky, and if you do have drift issues, you should consider that to be pretty normal.

March 4th, 2009, 11:55 AM	#80
Jason Linn New Boot Join Date: Feb 2009 Location: Detroit, MI Posts: 16	does anyone know of a way to monitor mic levels BEFORE they get into the camera? I was thinking some type of small adapter that the mic could plug into before going to the mic input on the MK2?