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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?

I think red should make a "fan grill" with a built in little scratch mic as the new fans being so quiet and all. I would buy one for sure.
 
Björn Benckert said:
I think red should make a "fan grill" with a built in little scratch mic as the new fans being so quiet and all. I would buy one for sure.
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I can't in my wildest nightmares imagine a worst place to put a microphone.

A short shotgun mic in a shockmount on top of the camera is not a terrible idea, as long as you don't expect too much out of it.
 
We've just bought a bunch of the Olympus ME52W for Scratch Audio, Can someone please share their in camera Audio settings for these mics ? e.g. 48v on or off etc etc.

Happy New Year and Thank you very much.
 
Adrian Weinbrecht said:
We've just bought a bunch of the Olympus ME52W for Scratch Audio, Can someone please share their in camera Audio settings for these mics ? e.g. 48v on or off etc etc.

Happy New Year and Thank you very much.
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For the life of me of late I had to have it on but dont rem having phantom on back in 2012 when I first got it.

I also find (could be crazy pills) that the last year, the firmwares have made this mic harder to work with in regards to levels.

I gave up and just cranked it at all times.

I just use it for sound sync in FCPX anyway.
 
Really? How could it require phantom power -- its like a computer mic? Actually I think there are a bunch of different versions of similar Olympus mics -- 51 and 52 and 52w or something like that... I can't remember which one I have specifically... Maybe they require different settings?
 
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Are you guys using the new fan? I'm getting lots of fan noise on the 52w and old fan.
 
Has anyone tried a different product that works as well as this unit?

Last few shots the little bugger got ripped out of its socket and wondering if there is a flatter less protruding option.

Im almost ready to run the A-Box into a RHODE as a stock set-up but renters/users find that cumbersome.
 
So what's the verdict on this mic? Does it actually pick up enough audio to be able to sync?

If so I would like to use this instead of my usual go to for a scratch track = A box plus shotgun mic.
 
Works all the the time even in quieter settings.

Again I had the few incidents when settings changed and nothing was recorded.
 
I use two of these blighters.

I haven't finished tweaking the settings yet.

+) I have one microphone with roughly 6dB MORE gain than I am expecting
+) I have the other microphone recording with roughly 6dB LESS gain than I am expecting.

If the first audio track Clips / distorts - I use the Second (which is 12dB lower level)

AJ
 
I know this is an old thread, but I was hoping someone might be able to help me. I bought the Olympus ME 51SW for my Dragon (just for scratch track) but I can't seem to get any level out of it even with everything cranked. If I set it to balanced, I barely get a level. If I set it to unbalanced I get a decent level but a crazy amount of buzz and interference. Am I doing something wrong?
Thanks,
CP
 
That's pretty much what you get with these tiny unpowered mics. The best solution I found was the rode videomic Pro.

Chris Pyle said:
I know this is an old thread, but I was hoping someone might be able to help me. I bought the Olympus ME 51SW for my Dragon (just for scratch track) but I can't seem to get any level out of it even with everything cranked. If I set it to balanced, I barely get a level. If I set it to unbalanced I get a decent level but a crazy amount of buzz and interference. Am I doing something wrong?
Thanks,
CP
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Are you guys using this to judge good takes in narratives? Do you find it sufficient for that?
For example on a 85mm close up, with two actors speaking at a lowish volume. Are you judging strictly from the scratch and then verifying the good, boomed audio after you've decided the take was good, or are you trying to sync the playback of the good audio (from the audio recorder) with the video playback in order to judge the take?

Edit:
To be clear, I'm talking about judging takes while watching playback on set, before moving on to the next shot.
 
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I was thinking it would be useful for both - judging takes, and syncing waveforms. However, I am concerned that the audio is so low and/or so buzzy that it won't be able to sync. So many have said they have had good luck with this mic that I am wondering if I am doing something wrong or that maybe something has changed in firmware?
 
I just mentioned this to Chris, but in my experience the hum/buzz is substantially loud only when using a Bomb EVF (LCOS in my case). He tested it, and it seems he experiences the same thing. Not sure if it's only with the Olympus mic or if its the same with any unbalanced mics. Just thought I'd mention it here, as there seems to be a correlation and it might help prevent headaches for future DSMC users.

Again, I don't experience this on my other RED monitor (an R1 5" non-Touch) and neither did Chris.
 
Yes, unplugging the Bomb evf did indeed get rid of most of the audio buzz. I don't actually have a RED monitor but I do have a small HD 4" HDMI monitor. Plugging that in did not affect the audio...
Does anyone know why the Bomb EVF would cause audio buzz?

Thanks Mike.
 
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