Thread: Audio Setup Recommendations For a Web Series BMPC 4K

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  1. #1 Audio Setup Recommendations For a Web Series BMPC 4K 
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    I'm thinking of tackling a Web Series with a Production Camera 4k. Everything I've shot on it so far didn't need audio (music videos)

    I'm looking for some recommendations for audio in a web series using this camera from people that have experience tackling audio with this camera with a small crew.

    I love single system sound for ease of editing, but I also don't want to wind up with terrible sound while investing in cool visuals and setups with tons of actors.

    Thanks!
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  2. #2  
    Senior Member scorsesefan's Avatar
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    I can't speak for the BMPC but the BMCC has not produced satisfactory results for me in the past and I have spent a lot of time fixing audio files in post. I would HIGHLY RECOMMEND dual system audio...
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  3. #3  
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    I'd imagine the BMPC's 1/4" jacks are superior to the BMCC's 3.5mm input, but unless you're actually in a studio environment, feeding the camera from a mixing board, the 1/4" inputs are probably going to involve looping through a field recorder anyway. I'd recommend grabbing an inexpensive recorder like a DR-60D and recording on both at the same time. By using the 60D's pass-through you'll get a sync'd mixdown attached to every track, and when that's insufficient (due to quality or mix) you can go back to the originals which will be super easy to auto-sync.
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  4. #4  
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    I've done audio for broadcast tv with a zoom h6n, I would recommend that as an external recorder / mixer. My tascam dr-40 is really noisy compared to it, don't know about the Dr-60/70
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  5. #5  
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    Quote Originally Posted by Akos View Post
    I've done audio for broadcast tv with a zoom h6n, I would recommend that as an external recorder / mixer. My tascam dr-40 is really noisy compared to it, don't know about the Dr-60/70
    I did a sloppy side-by-side of the DR-60D and H6 with a Rode NTG-2 when a friend had their H6 over, and I didn't find the straight quality differences to be appreciable. The 60/70D are definitely a huge step up from the 40 and are punching in the same weight class as the H6, no question, to the point that you're really comparing features and form factor more than performance.

    Here's a pretty extensive comparison if you're in the mood for droning tech comparisons (and who isn't?) https://www.youtube.com/watch?v=rGMiIXkiJ9E
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  6. #6  
    Senior Member Willian Aleman's Avatar
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    Lately, I have been working as a DIT in four short films, using Alexa, Red Epic and the last RED Dragon respectively. Each one of these film has a dedicated sound mixer on set with a four or a six channel Sound Device recorder.

    The clarity and quality of these devices will give the producer and director a piece of mind in post. I don't know any camera where the audio part of it has been been designed as the main audio source, specially for narrative film genre.
    In terms of quality and free noise, they all have been designed around being a raw sound for syncing when no timecode is available. Since the Sound Devices are really expensive, it may be worth to hire a sound mixer to be on set rather than buying the recorder. However, since the poster is getting ready for a web series, it might be worthy then to purchase the recorder, but the fact of having someone on-set just to pay attention to the sound has no compensation when the project arrives to postproduction. In a budget the H4n or similar recorder with a mic in a boom would be the best solution.

    The flexibility of syncing audio nativity through waveform in DR 12, makes it possible today not to depend on TC synchronization, which is more expensive to get in production.

    Hope this helps!
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  7. #7 Mixpre for two channel sound 
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    One can get a used mixpre or mixpre-d reasonably priced and not worry about how clean your sound is.
    I also use a sony dcm-50 for backup recording as well.
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