Mic splitting in camera?

[Douglas Underdahl]

Anyone know how to split the audio from one mic so as to record onto two audio tracks, in camera? I did this as standard operating procedure on my HVX200 but can't seem to do it on my Epic.

Might have to get an external splitter unless someone has the answer.

Thanks
Doug

 

[Eric Santiago]

Do you want to hear both channels in each ear on our phones or did you want two tracks on your R3Ds?

Im curious why you would want to split it that way.

Easy in post.

 

[Terry VerHaar]

I suspect the reason is so that you can record one signal hotter than the other to make sure you get the widest dynamic range recorded?

As far as splitting, these are two distinct signal paths and I don't believe there is a way to route one signal to both channels. If you want to record on to two channels, I think you will have to split them outside of the camera.

 

[Douglas Underdahl]

Yes, went with an external splitter. As Terry said, I record one track hotter than the other and have in effect, High Dynamic Range audio. If the subject wispers, I can use the hot track. If he bellows, I can use the lower one. Beats doing nothing when you don't have a sound person.

Now I'm going to do some research on the limiters in my Epic. Can't seem to really get the audio to clip so I think that there are limiters (remember reading about this in the manual).

 

[Marc Wielage]

I think a better solution is to buy a mixer. Even better, hire a professional sound person to handle all the microphones and sound recording on set. The reality is that dialogue levels have to constantly be adjusted while people are speaking. It's not like photography, where often you set the exposure and let it go for an entire scene. This problem is multipled when you have additional actors in the scene, all speaking at different levels. Limiters are not the answer.

 

[Nick Fury]

I think a better solution is to buy a mixer. Even better, hire a professional sound person to handle all the microphones and sound recording on set. The reality is that dialogue levels have to constantly be adjusted while people are speaking. It's not like photography, where often you set the exposure and let it go for an entire scene. This problem is multipled when you have additional actors in the scene, all speaking at different levels. Limiters are not the answer.

Hi Marc,

Question regarding riding trims on set vs. post work, for leveling dialogue. Do you think that the post programs to process and level dialogue can get as good a result as an experienced sound mixer, onset? In the alternative, is the cost to do either pretty close, for two ro three person dialogue. When five or more talent involved, does the dynamic change?

In any case, nothing like bringing in the professionals...

Thank you very much

Fury

 

[Marc Wielage]

Question regarding riding trims on set vs. post work, for leveling dialogue. Do you think that the post programs to process and level dialogue can get as good a result as an experienced sound mixer, onset? In the alternative, is the cost to do either pretty close, for two ro three person dialogue. When five or more talent involved, does the dynamic change?

I think anything can be done in post, to a point. But when they need a rough mix for the edit, if there's an experienced sound mixer on the set, that can get 80% or 90% of the way there. Having a great dialogue editor and re-recording mixer to even out the levels with Pro Tools and a good console is mandatory for a professional mix.

Don't forget that for the first 75 years of sound pictures, the guy on the set rode all the levels and most of his decisions were used in the finished film. But... it's also fair to say that isos only became popular in the last 10-15 years, and traditionally the levels of isos are not ridden. Only the mono mix track has "mixed" dialogue that's adjusted.

But I don't think hosing one or two mics into a camera is the right way to shoot a scripted production. One huge problem is the problem of actors shouting, and only a human turning down the knob can stop the level from distorting. Limiters can't handle the job, especially if the mic is breaking up in the preamp. And the preamps in all cameras (Red included) are not great.

I get that people who shoot very inexpensive productions, particularly news crews and documentaries, don't have the luxury of a sound mixer right there. For that, the camera operator has to wear headphones and keep one eye on the levels and the other eye on focus and framing. And in many ways, I think that's a lot to expect of one person. I think the camera operator's job is hard enough just worrying about picture.

 

[Adrian Weinbrecht]

Anyone know how to split the audio from one mic so as to record onto two audio tracks, in camera? I did this as standard operating procedure on my HVX200 but can't seem to do it on my Epic.

Might have to get an external splitter unless someone has the answer.

Thanks
Doug

Hi Douglas

We used to do exactly what you're suggesting on our pre-red camera's. Now to get the same/similar result we had some cables made up that take a single 3pin Mic XLR and then split it into two plugs directly into the camera, one of these has a -10db attenuation the other is not attenuated. So the mic signal goes into both audio channels on the camera, one channel is higher then the other.

These days we mostly work with a mixer and or a sound person, but for some stuff this cable is still helpful.