Reference Audio

[Tommy Davis]

So I tried to search the forums for this and I found plenty regarding the scarlet but nothing in regards to the Red One. However if I missed something I'd be happy to read another thread. Anyway I wanted to know if anyone had recommendations for running a reference mic on the R1? A lot of the Scarlet users appear to be attaching modded RodeVideoMics but I was curious if anyone has run similar set-ups on the One? It doesn't even have to be something as cheap as the RVM either however the intended purpose would be solely for syncing audio and video in post. We always run a slate on set but FCPx (I know, I know) is horrible when it comes to syncing without reference audio. Normally I edit in Avid or PPro so syncing hasn't been an issue, but lately I've been working with a talented editor who only uses FCPx and seeing as I don't hate the software myself this feels like an easier road to pursue.

Also, what would you say is the best way to physically mount the microphone to the camera? I'm accustom to most camcorders having mic holders, previously shot with an AF100 and similar models so the whole rail & cheese plate configurations are still new to me. I'm looking into top mounted rails if that helps and I'm currently running the x basic studio configuration (minus bridge plate and dovetail) for those familiar.

 

[Marc Wielage]

My advice is that you worry about timecode, not about so-called "reference audio." Many, many crews don't even provide reference audio at all. Just get a timecode jam box, jam it to the production sound recorder, then mount it to the side of the camera and slave the camera to that all day long. Your audio files should then automatically sync up with the picture, assuming the timecode is identical.

 

[Tommy Davis]

I'll definitely look into that instead. Sounds easier and more effective

 

[Jimmy Gilmore]

The R1 is capable of recording excellent audio. It even has good pre-amps. As Marc said, there are timecode issues with drift ect. Depending on the job and what the client expects for post you can follow Marcs advice or you can just send audio to the camera. My most frequent workflow is to send audio from mixer to a timecode enabled recorder and via umbilical or camera hop to tracks 3/4 on the R1. This gives post a mix track right on the video files and isolations on the recorder. You can also hardwire your timecode clock in your recored to the R1. The R1, despite it's bad rep with many audio pros is a very capable and audio friendly camera. Don't limit yourself with a reference track.

Most important, is to set the fan to auto. It will shut down when you hit record that way.

On another note, I don't ever mount a mic on the camera unless I absolutely have to. It will sound bad and someone in post might get lazy and use it and then you look bad for giving the crap audio ;-).

 

[Tommy Davis]

Actually yesterday I plugged my mic setup directly into the R1 for the first time and wasn't disappointed. It is obviously one of the easiest solutions and will be my first preference when possible. I'm mainly prepping myself for a few gigs we have that require multiple sources and would prefer not to have everything tethered to the camera itself. Good point about people being lazy, sadly I've experienced that once before and it was with a Rode mic on a 5D :\

A friend of mine pointed me to the Timecode Buddy system and an upgrade to a Sound Devices recorder. Both things I will definitely consider when moving forward and budget allows.