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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 :)

Interesting Scratch Track Solution?

Clayton Taylor

Clayton Taylor

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Stumbled across this while researching a solution for a simple scratch track for syncing A/V. Thoughts? All I'm needing is something to pick up the slate to sync in post. Would this work? Has anyone tried it? The price is low enough to take a risk... Anyone interested in trying it out? If I pick it up I'll post results.

http://tonacitran.com/scratch-mic-red-scarlet-epic/
 
I think that is the stereo version of the same mic I pointed you towards in the other thread. As you are plugging it into a mono input you will still just get mono results.
 
Yeah Med - I wasn't sure if it was or not. With those two I just wasnt sure if fan would be an issue with picking up the slate?
 
Mine picks up pretty well -- way more than just the slate, but I have the V2 fans running on an Epic. I also have a small "foamie" that I put over the mic when outdoors. It's so cheap though you really can't lose by testing it for yourself.
 
Right on. I plan on going V2 on the fans too to reduce any noise that I can.
 
Clayton Taylor said:
Right on. I plan on going V2 on the fans too to reduce any noise that I can.
Click to expand...
The best way to reduce the fan noise is to get the mic as far away from the camera as possible and get it very close to the actors. For that, you need a person to handle the microphones (and preferably the mix).
 
Yeah, but he's talking about Scratch audio collected by an Olympus button mic, Marc.

Clayton, if you do a forum search there is actually a whole thread surround that mic and Tonaci's link. The knock-off Olympus (yes, there are ripoffs) apparently don't work and I don't think the stereo ones work either (or maybe it's the mono ones that don't work, even though the camera only records mono, I can't remember).
 
Mike P. said:
Yeah, but he's talking about Scratch audio collected by an Olympus button mic, Marc.
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True, and that's kind of the sound equivalent of using a Coke bottle for a lens. Really trashy and crappy. There are at least 20 decent mics out there that don't involve a $50 lav duct-taped to the front of a very noisy fan-equipped camera.

You'd be amazed how often "scratch audio" winds up being used in a finished production. Sometimes big ones, sometimes on network TV, sometimes in theaters. The better the scratch audio, the less of a train wreck it winds up being in post.
 
I was just about to post in the other thread about the Olympus ME-52W:
http://www.reduser.net/forum/showthread.php?123656-Scratch-Audio&p=1434800

I just started testing the Olympus ME-52W and the audio is so weak. I set the camera's pre-amp all the way up and I stuck the mic in the Mic-1 left channel audio input of the brain.

*Edit:
Ok nevermind, it's not THAT bad after I messed around with it some more, lol...
 
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I'll have off camera audio as well - this is strictly for reference/syncing purposes in post.
 
Clayton Taylor said:
I'll have off camera audio as well - this is strictly for reference/syncing purposes in post.
Click to expand...
The better quality your scratch track, the easier it will be to use for sync and reference in post. And the best idea of all is to just make sure the camera has the same timecode as the audio recorder. Do that, and it syncs automatically in the timeline.

I know of many, many productions that get by using no scratch track at all, but they double- and triple-check the timecode to make sure it's right. The timecode is the track on which the entire post-production train runs. Without the timecode... train don't run.
 
Marc Wielage said:
I know of many, many productions that get by using no scratch track at all, but they double- and triple-check the timecode to make sure it's right. The timecode is the track on which the entire post-production train runs. Without the timecode... train don't run.
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I like a scratch audio track for everything if possible. From an editor's perspective, if there's a scratch mic on the camera you pick up useful stuff even on MOS shots, such as the direction being given. A scratch mic is even useful on camera tests, so you can make verbal notes that stay with the rushes.
 
Chris Luker said:
I have an Olympus ME52W mic on my Dragon.
Every shoot I do I get a reaction from the editor... "Hey! This has audio on it! AWESOME!!"
They all love it!
Click to expand...

I second that. Even works wonders for scratch track on my Blackmagics.
The "Noise Canceling" is a bit of an euphemism though. "Micro Shootgun" would have been better, since it rejects or dampens some sound, from the back and sides.

B1EMrpwIUAAioU0.jpg:large
 
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I'm just now making the transition from DSLR to RED. I haven't had a chance or the cash to pick up everything needed for timecode yet. Still have to work off slating/scratch audio for now.
 
I think I may pick up one of these small ones for quick and dirty jobs, but I've decided to go with a rig similar to Stefano Ceccon's (pic attached). I realized I had an extra Sennheiser ME-64 capsule lying around. I figure I could pick up the parts to make this to give me decent audio on camera when I need it (yes, I'll always have off-camera audio, but this could give decent reference in case something went wrong with the boom mic or whatever).
I did make a couple of small changes to his though - using the Sennheiser and then I picked up an A-box from WC here in Dallas.

10153851_10203169226573865_3510089517395097700_n.jpg
 
Hi Clayton!

i a sure you know this, but for those who just might not be aware, using the WC RED riser allows the cabling, from Tge WC A Box to pass through the riser to L & R inputs on thefrnt if camera. This allows a more tidy install.
 
Nick Fury said:
Hi Clayton!

i a sure you know this, but for those who just might not be aware, using the WC RED riser allows the cabling, from Tge WC A Box to pass through the riser to L & R inputs on thefrnt if camera. This allows a more tidy install.
Click to expand...

Thanks Nick. I actually have most of my setup from WC. They're a Dallas company about about 20 minutes from my house. I do local pickup and the owner, Ryan, is an awesome guy. He's always quick to come out and say hey and answer any questions. I've got their full cheese cage and what I did was run the cable from the A box under the right front side plate on the cheese cage. There may be cleaner methods - Right now I have their Easy top X, Easy Riser, and Light Weight 15mm bracket. I'll get it back out and play with it to see if I can run those cables under it. Didn't realize that was an option.
 
I'm very curious about this, I use an A box and shotgun usually for scratch audio but if this little device works well enough for syncing, I'd rather
use that and avoid the cables and mic on the camera.
 
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