Thread: Audio recording

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  1. #11  
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    Yeah I am planning on doing a skateboard documentary. So I also need a good mic to pick up the noise when skateboarding itself. And a lav for the interviews in the car/locations while doing a road trip.
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  2. #12  
    I had to get a very small lav for a certain job and got a Countryman B6. Turns out I really like the sound I get from it. It's more than $200 and is my go to lav.

    On a similiar note I started using the Rode VideoMicPro with the BMCC and really liked it. I'm on my third or fourth iteration. I'm sure it's NOT up to the standards of a Sanken, but I still like the sound I get from it. It's easy and very reasonably priced. With the Rycote shockmount it's pretty nice.

    Generally I don't use the audio from the camera in the final edit. Except when I do that is. Sometimes it sounds the best like Alex said above. Sometimes it's the only thing there is if the speed of what's happening is completely out of our control.
    Last edited by Marshall Harrington; 07-11-2018 at 04:08 PM.
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  3. #13  
    I think there should've always been a dedicated Audio section on this forum

    Ideally it would've been set up from the beginning instead of defaulting to other sections , ..... maybe sometime in the future
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  4. #14  
    Quote Originally Posted by southindie View Post
    I think there should've always been a dedicated Audio section on this forum

    Ideally it would've been set up from the beginning instead of defaulting to other sections , ..... maybe sometime in the future
    Great idea.

    I've struggled with work flow due to audio:

    In my case I ingest video with Resolve. At that point I go through a first round of color, not getting to picky. Good to note that most of my shoots involve more than one camera at some point so multi-cam is a requirement. Because my audio recorder does not have time-code I use PluralEyes and sync on waveform. I use PluralEyes because I've never found anything else that works dependably. Then I cut in Premiere. Generally I conform audio in Audition prior to sync so I give it a first pass just like I do with the initial color grade. Once the cut is locked I go back to Audition to give it a final clean up and to conform it.

    Round tripping back to Resolve has never worked for me so once the cut is locked I manually go over all the color clip by clip. I've tried and tried to round trip from Premiere to Resolve. Blackmagic generously spent a great deal of time trying tho help as well. Never had any luck. They thought it might be the PluralEyes step adding some sort of wrench in the process but no specific answer was ever found.

    I've tried and tried other solutions but so far have ended up here for most of my shoots. Though I have been using Resolve for some of the more simple single camera shoots.

    I plan to upgrade my recorder to one with time-code soon. I'll likely add up a couple of Tentacle Sync E's for each camera so I can sync the audio at the ingest stage in Resolve. But I'm not sure if this will be the right solution. Curious what others have found. What's your work flow? Is anyone using Fairlight? Very curious about that.

    The one thing that I'm sure of is if I could round trip conforming the color would be so much nicer.

    So yes, a dedicated audio section would be a huge help.
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  5. #15  
    Well there's never been a better time to get a recorder. The Zoom F8n comes out this month for an insane US $1000 .

    With the original Zoom F8, Zoom kind've "pressurised " Sound Devices into reacting so they've got the Mix Pre 3, 6 & 10T series out. All have rock solid Timecode generators.

    also for multiple cameras Mini generators like the Tentacle Sync E ( you mentioned ) are becoming a must. The Ambient Nano lockit appeals to me they make it just so easy to keep all cameras & recorder in sync & they're cheap. I'll be getting 2 or 3

    Devinci Resolve started out mostly more of a color grading/editing program ( purely my understanding ) with very little emphasis on Audio. That's why most solo shooters would round trip with the Audio . However my understanding is Resolves latest versions have made huge advances in Audio almost to the point where you can consider downloading everything straight into Resolve.

    If you havn't already done it, It may be worth your while checking out Curtis Judd's episodes as he owns an Ursa Mini Pro & will be getting the Pocket 4K

    You've probably already seen these but here's some links anyway - good luck

    https://www.youtube.com/watch?v=-Jm0CEfLNaQ

    https://www.youtube.com/watch?v=m9XYPJQ2CpM

    https://www.youtube.com/watch?v=KpJql4ojm50

    https://www.youtube.com/watch?v=o36XYOPp0BE

    https://www.youtube.com/watch?v=YM3_rVSMSAs
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  6. #16  
    Some really good feedback Southindie.

    The Zoom F8n or the SD 10T is on my list.

    I need to get a better understand the difference between the Sync E and the Nano.

    Curious to know at what point and with what software do you or any other of you sync if you're in a multi-cam shoot? Then what's you're finishing workflow once you've locked the cut.

    Yes Curtis Judd's site and his training videos have been more than helpful. Certainly the best thing out there on the web. My audio has gotten way better utilizing his teaching.

    Thanks again.
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  7. #17  
    I highly recommend these:

    https://www.gothamsound.com/product/...audio-recorder

    They're not cheap, but it allows continuous recording for 8+ hours, QC one zaxnet when close to device,timecode, and the quality is superb. There are cheaper options, like the DR-10; however, those will not accept/send timecode or allow QC while recording. When I'm shooting doc style, I keep these on each individual, have a camera mounted shotgun, and a boom running in to Mix-pre 10T. Everything is synced to the Zaxcom device wirelessly using zaxnet.
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  8. #18  
    Quote Originally Posted by weis5on View Post
    I highly recommend these:

    https://www.gothamsound.com/product/...audio-recorder

    They're not cheap, but it allows continuous recording for 8+ hours, QC one zaxnet when close to device,timecode, and the quality is superb. There are cheaper options, like the DR-10; however, those will not accept/send timecode or allow QC while recording. When I'm shooting doc style, I keep these on each individual, have a camera mounted shotgun, and a boom running in to Mix-pre 10T. Everything is synced to the Zaxcom device wirelessly using zaxnet.
    Very interesting… I could see that in the long run this could be really good. Curious what's your post workflow?
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  9. #19  
    As far as audio workflow is concerned, I just pull video and audio file into the same bin within Resolve and click sync audio based on timecode. Done. Resolve handles syncing incredibly well.
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  10. #20  
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    Quote Originally Posted by polaroid22 View Post
    Hello,

    I am planning to do a documentary soon. I will be shooting with a ursa mini pro and a ursa mini pocket 4K. So I want to use a on camera shotgun mic like the sennheiser MKH-416 or something similar. Any recommendations on how to mount the mic on the camera? As also tips on how to improve the audio, as I never really recorded audio in camera before. (but I do not want to sync audio for this project, as there will too much data to sync and too time consuming.) If possible I would want to use the MKH-416 also on the pocket 4K.

    Thanks!
    The best way to improve audio is to *NOT* put the microphone on the camera!

    And syncing is very easy and super fast to do if you learn how use Timecode.
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