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  • Hey all, just changed over the backend after 15 years I figured time to give it a bit of an update, its probably gonna be a bit weird for most of you and i am sure there is a few bugs to work out but it should kinda work the same as before... hopefully :)

EPIC EMBEDDED AUDIO

Jim Grieco

Jim Grieco

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I've heard a lot of talk about how recording embedded audio when shooting with the EPIC is a major issue as far as recording clean, reliable audio tracks. I have had my EPIC for 7 months now and I record 2 channel audio directly onto the files every time I shoot. I'm a Network Television D.P. and I shoot primarily short form sports documentaries that air as event profiles. I have the Wooden Camera A-Box rigged into my EPIC's audio inputs and my audio tech balances tone via a mic feed out of his mixer. We have rolled on countless interviews at this point...and EVERY SINGLE TIME the audio tracks are just as clean and rich as they have ever been on any of my previous camera's (I've had 6 different rigs over the years).

I just wanted to debunk the myth that you can't record reliable, quality embedded audio via the EPIC. It's just simply NOT the case.

I just joined REDUSER and I can't post photos or info about myself on my profle yet. Anyone interested in learning more about me, feel free to visit my website @ www.jimgrieco.com
 
I am going to plus one this in a huge way.

Again, done properly everything works perfectly and actually exceeds expectations.

I have hundreds of hours shot single system and it has been great.

David




Jim Grieco said:
I've heard a lot of talk about how recording embedded audio when shooting with the EPIC is a major issue as far as recording clean, reliable audio tracks. I have had my EPIC for 7 months now and I record 2 channel audio directly onto the files every time I shoot. I'm a Network Television D.P. and I shoot primarily short form sports documentaries that air as event profiles. I have the x A-Box rigged into my EPIC's audio inputs and my audio tech balances tone via a mic feed out of his mixer. We have rolled on countless interviews at this point...and EVERY SINGLE TIME the audio tracks are just as clean and rich as they have ever been on any of my previous camera's (I've had 6 different rigs over the years).

I just wanted to debunk the myth that you can't record reliable, quality embedded audio via the EPIC. It's just simply NOT the case.

I just joined REDUSER and I can't post photos or info about myself on my profle yet. Anyone interested in learning more about me, feel free to visit my website @ www.jimgrieco.com
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How are you guys dividing your channels? Are you putting all your dialogue on one channel and all your ambient on another... or all your shotgun/boom audio on one channel and all your lav/wireless on the other?

I, too, have gotten usable audio directly in cam. Usually using a wireless per channel (so two dialogue tracks), but with more talking characters on screen I'm trying to figure out what would be the best grouping of channels. Worst case scenario, I gotta use the isolated tracks off the recorder, but I'd like to not have to rely on that (trying to figure out if I can get away with it or if I should just make a point of figuring out a cheap/simple/reliable timecoding configuration.)
 
It depends. You only have 2 channels on camera unless you get a ProIO, so I would isolate lavs on one channel and boom on the second. With 4 channels you'd be able to ISO your lavs, but that seems a bit ridiculous to have 2-4 hops or all that cabling on camera instead of a single hop and time code device.

I think figuring out a time code solution is going to benefit you more in the long run. That way, you can have a mixer concentrate on sound and a DP concentrate on camera. Everybody wins!
 
Yeahhhh... I know it's better for the long run... I just want an affordable, bulletproof (and simple) way of doing it. I hate having to buy a jamming cable for the camera, but it's not something I feel comfortable expecting the sound guy to have.
 
Hey Doug. IS there anyway to get timecode synch if using a Sound Devices 302 with a tascam DR-40 Recorder which is also fed back to the camera?

Doug Beatty said:
It depends. You only have 2 channels on camera unless you get a ProIO, so I would isolate lavs on one channel and boom on the second. With 4 channels you'd be able to ISO your lavs, but that seems a bit ridiculous to have 2-4 hops or all that cabling on camera instead of a single hop and time code device.

I think figuring out a time code solution is going to benefit you more in the long run. That way, you can have a mixer concentrate on sound and a DP concentrate on camera. Everybody wins!
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