Gear Talk > EOS Bodies - For Video
Video & Audio
paul13walnut5:
--- Quote ---I also use 2 x 6m LiveWire XLR-to-XLR extension leads from the recorder to the lavalier mics
--- End quote ---
Really not keen on lavaliars anymore. My ECM-77s need good robust preamps, just a little cold with internal AA. Apart from that I don't like mics in vision at all, even for factual interview type stuff. I know this is just me. Lavaliers were just too prone to breath rumble (even facing down) and fabric / jewellery noise for my tastes.
I take the point about the second audio channel, when I'm shooting on my ENG cameras CH2 is always on the front mic with auto. Haven't really considered an option for my DSLR shooting. I do gather some wild track in difficult situations where possible.
The beachtek gives me a headphone socket, although this is at source not from the recording device, so I usually do a test clip and playback (get the subject to spell difficult names detail designations etc) for most interview dialogue, with a sensible headroom level set and monitored I rarely have to tweak the controls.
Different nuts, different ways to crack 'em.
DB:
I appreciate the logistical difficulties using lavs, I had a situation once where I placed one on a seated interviewee on his tie facing down, just above the belt buckle (so out of shot) and he kept moving his hands (gesticulating) and it rendered the sound unusable given that his sleeve rubbing against the mic head dominated the audio.
With regard to sound quality/power issues, I use a couple of professional Cannon XLR Lavalier Mics from a company called 'Micronic' (found them on eBay) and they are exceptionally good when paired with H4n for 48v phantom power (not dual powered like Sony ECM-77 but similar spec 63dB SNR, 110dB input + 50Hz to 20KHz few range, only difference is resistance @ 600 ohm instead of 150 like yours, so perhaps your lower resistance requires more power). I use these all of the time with 6m ext + 3m base lead, so we're talking 30 feet cable length and quality is 100%
AG:
There is one thing that everyone seems to be skimming over here.
He is using a 60D as his main source of audio input, then adding the secondary sound via the Rode mic combo and recorder.
The guys at BH Photo should have sold you a decent on camera mic also like the (cheap) Rode Video Mic. Nothing fancy but enough to make sure you have a clean secondary audio source incase the off camera sound is not so good.
Will save a hell of a lot of time in post if you have to clean up the Tascams audio.
Plus if you are using Pluraleyes or Final Cut X its pretty easy to sync the audio together for editing.
DB:
You cannot use in-camera audio as primary source, as the original comment says "it's complete rubbish". Camera recorded sound (typically mono) should only be used as ambient or to sync up in post. Speaking of which Adobe Premiere Pro does this simply & it is really cheap to buy for students & teachers.
AG:
--- Quote from: DB on June 05, 2012, 08:19:01 AM ---You cannot use in-camera audio as primary source, as the original comment says "it's complete rubbish". Camera recorded sound (typically mono) should only be used as ambient or to sync up in post. Speaking of which Adobe Premiere Pro does this simply & it is really cheap to buy for students & teachers.
--- End quote ---
Your missing the point.
If the on camera audio is made to be usable with the help of decent mic on the camera such as the Videomic Pro etc it gives you a better opportunity to capture that ambient audio. There has been many occasions that our audio tech has screwed up a part of a shot due to technical difficulties and that clean on camera audio has saved our asses.
On saying this the whole argument for on camera audio becomes mute when you take the next step and change the camera to something like the FS100/C300 etc.
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