PD170 & VX2100 sound matching
 

I shoot and own both the PD and the VX, and untill recently I decided that it was too much effort to play and match up the sound between the 2 cameras in post. So I decided to put the shotgun mic that came standard with the PD on a boom and run that to a cheap mic-splitter ( splitcom ART mic splitter/combiner) with a built in transformer, and then XLR cable to both cameras, (I found an XLR cable, with a mini jack plug on one side of it, for the VX). This allows me to record sound from the shotgun on both cameras. Alot easier to edit in post!

Well, this is the first time I did it this way and I was really dissappointed with the humming and static on the raw footage. I got rid of the humming with a de-hummer, but sound is still crap! The interference is definately comming from this setup and not from any outside sources, like A/C, refrigerators, ect...

I just wanted to see if anyone else on this forum had a simular problem in the past, and hear from them, or anyone who would have any suggestions how I can achive what I am trying to do, in a better quality mannor. I was trying to avoid purchacing a unit like the beachtec, but unsure if it will work for what I am trying to do, since the PD is supplying 48V. to the mic already.

I am trying to record the same sound on both cameras from 1 shotgun mic, minus humming, and static, and without a big box attached underneath the VX. The mic splitter that I purchaced is manageable since it lies on the floor and out of our ways. It would be nice if I can find something similar or, something smaller altogether that I can attach to the camera. I do plan on upgrading the shotgun mic at some point, but its pointless having an expensive mic with static and humming.

Thanks

Hi Jason. First, I don't think that one mic for two cameras is a good idea. Most of us go out of our way to have more than one audio track for two main reasons, good coverage and backup. Aligning the tracks is easy in any good NLE as long as you keep both cams running for the whole event, rather that hit pause/record on them independently.

What is the purpose of having two copies of the same audio track anyway?

But having said that, your technical problem is probably the XLR cable going to the VX. It's not a balanced run if it has a built in mini plug going into the camera. You need to have a cable with XLR connectors at both ends, then a transformer based XLR to miniplug adapter at the camera end.

Running both cams on battery rather than AC power, if that's not what you're already doing, will help reduce hum also.

Thanks for your post. Thats going to be the next thing I try, finding an XLR to mini with built in transformer. I figured I didnt need one of them because the splitter had a built in transformer.

We shoot 95% of the time indoors. We just purchaced the PD so we can get a different angle of coverage of the same action. 1 hour of raw footage on both cameras, edit in post for a final output of 20 or so minuets. Having the same sound on 2 tapes helps alot, for me, when trying to match these clips up. So when you watch the final video, you cannot tell 2 different cameras captured it. I can tell the difference as well as any camera guru, but its close enough, the sound was my real problem.

I have seen the term "NLE" before, but never looked into it or know what it is. I will do some reasearch to see if thats a better option for me, but I can tell you, we do stop/start the cameras independantly, 10-20 times in that 1 hour of recording. Thats something we cannot get around.

Any suggestions on a good XLR to mini w/transformer, that doesnt mount to the camera?

Thank you

NLE stands for non-linear editor. Like Sony Vegas or Premier Pro. Your approach to editing with two cams is entirely different than mine. Actually, I tape with three cameras. They all tape the whole event without stopping. In Sony Vegas I align them one above the other on the timeline, which is easy in Vegas because you get a visual of the audio peaks. Then I have complete flexibility in choosing which camera angle and which of the three audio audio tracks (or two of them or all three) will be used moment to moment in the final edited version.

Here's a transformer adapter:
http://www.samash.com/catalog/showit...ffiliateID=615

Well after talking to my partner, we are going to invest in a Sennheiser Evolution Wireless system. This will get rid of my wires, with a camera mounted reciever (EK100G2) on both cameras, and a (SKP100) transmitter on a battery powered shotgun, this seems like the easiest, efficient, and convenient route for us to take.


Thanks again

If I gather correctly that you weave together clips from each camera where the audio stays with the video, then I can see your point. You'll like the Sennheiser. I love mine.

Sennheizer Wireless
 

Another "positive" vote on the Sens! In addition to my work with video, I also own an audio production company and we have 6 of them. 4 HH and 2 lavs. Excellent choice! Very stable. I've worked with better sounding lav mics, but they were not even close to the price range of the Evolutions! The two receivers and one mic set-up should work well for you. I agree on it being the best way based on your stoping and starting each camera. (Especially for the money)

Best,

K Fox

And for a few $hundred the kit's strictly functional stock ME2 mic can be upgraded to a much better sounding mic like the Countryman B3.

Matching PD170 footage with Sony Fx7/V1 in post production
 

Is there anybody out there who uses the pd170 with the sony fx7/v1 and if so, how easy is it to match the footage in post production?

We mainly want to do corporate work and some weddings on the odd occasion.

Thanking you in advance.

Matching PD170 footage with Sony Fx7/V1 in post production
 

Maybe I should just mention that I am planning to shoot with the pd170 in 4x3 and also in 4x3 dv mode using the Fx7/V1.

I can't tell you right now but I have a VX2100 and I have a V1U is in transit. So I should be able to tell you something soon. I did shoot on one occasion with both but it was under low light conditions (like many weddings). Under those conditions, the VX2100 was far superior and the only way I could get them to intercut was to "detune" the footage from the VX2100. But the shooter with the V1U had just gotten his camcorder and he may not have had it optimized quite as good as it could be with more knowledge and experience.

it would be best if you can get the cameras close BEFORE you shoot.
for that a WAVEFORM monitor and VECTORSCOPE would be best BUT barring that get them both up on a TV (the same one) and use the color bars in the camera. Use the Custom Presets or whatever else you have on the cameras to get them as close as possible. Remember also that viewing thru the LCDs will not neccessarily give you accurate looks at color and exposure so the first thing you need to do is set the LCDs to the bars so they are both relatively the same as to brightness. You can set the color level of the LCD in the menu, at least you can on the 170 and I think you can on the others.
It sounds like a lot of work but it is the only way to get the 2 cameras close otherwise your could spend alot of time in post trying to geth them to match and they still might not. Do as much work before the shoot so you spend less time and have a better chance of matching them later.
Don

I have the Sony PD170 & Z1
What I do is get them looking the same at home through the LCD screen. I have a board that has a lot of color and writing on It and I know If this is looking good through the LCD It's about right.
Then do a test record and put it through your NLE and do a quick render, 30sec Is all you need.
Remember when you go out shooting to always white balance with the same white card with both cameras pointing at It ( you know this anyway ) this way you should be close. I allways white balance when the lighting changes.

Good luck
Simon