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Sound Question on The Base I/O Expander

Scott Lamoreaux

Scott Lamoreaux

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I'm not really up to speed on the sound side of film as I mostly shoot without it and add music track and sound-fx in post. I'm looking forward to doing some interviews and short films in the future and am trying to learn more about sound. Other than the scratch mics on the Weapon/Scarlet-W body, Does the Base I/O expander have sound inputs that would allow connection from a boom mic or lav mic? If so is this a preferred method of recording sound for small man operations or do you still recommend a separate sound recorder and clap board?

Thanks!
 
This may have already been answered but if so I've not read it... If you have stereo sound into the camera via the Base I/O, can you also have camera mics recording? Giving you 4 tracks of sound.
 
The base I/O doesn't have phantom power, so any sort of shotgun or hyper would require that it be passed through a mixer first. A dynamic mic or a wireless Senn lav system would work directly though, basically anything that doesnt require phantom.
 
So without buying the REDVOLT expander for the audio inputs, which recorder/boom mic setup would you guys recommend?
 
I think you're much better off recording with a dedicated sound recorder. The main reason is, the key to getting good dialogue is to get the microphones closer to the actors. If you're tied to the camera (particularly with a cable), positioning the mic will be difficult, and you also need to constantly ride levels to get an optimum signal. You don't just "sit and forget" sound levels on the forget -- you're adjusting every line of dialogue that's said on set, including those by different actors.
 
Thanks Marc - can you recommend a decent recorder/boom mic set-up that could be used for interviews and/or a short film with a dedicated sound guy?
 
Michael Lindsay said:
Can we go in at line level?

Thanks
Click to expand...


While currently announced Weapon modules are mic level only, Off Hollywoods OMOD is a different matter:


Mark L. Pederson said:
Two full size XLRs for AES or Analog audio
High fidelity pe-amps
Independent, per channel High Pass Filters
Independent, per channel Line/MIC level settings
Independent, per channel +48V Phantom power
Independent, per channel limit LED indicators
LED level meters
push-to-operate knobs for levels and headphone volume
Click to expand...
 
That would be the PRO I/O module Terry is referring to.
Added Channels 3 & 4 selectable mic/line XLR's.
Original DSMC not compatible with current DSMC2.
So EPIC form factor, yes - Weapon form factor, no.

It is still early in the development of modules for the Weapon form factor. Who knows how many choices there will be in the months coming up.
 
Jonathan Stevenson said:
Tascam DR-701D is a great little recorder for the price.
Click to expand...
It's actually not terrible. But the knobs are too small to do actual mixing with it. In fairness, I would say the same thing about the Sound Devices 744. The 788 can work fine provided you get the accessory mixing panel -- but then you're up to well over $5K. Unfortunately, this is what really good gear costs.

Rental is often a better option for filmmakers and people who aren't shooting every day of the week. The key to getting great sound is to hire good people, find quiet locations, and put the microphones close to the actors. Just getting those three things done might be 80% of it.

Scott Lamoreaux said:
Thanks Marc - can you recommend a decent recorder/boom mic set-up that could be used for interviews and/or a short film with a dedicated sound guy?
Click to expand...
For interviews or small projects with no more than 3 actors, I think the Sound Devices 633 -- a 3-input recorder that can record 5 channels (3 isos and 2 mix tracks) is really, really good and has decent knobs, very reliable timecode, solid construction, and built like a tank... albeit a small one. It's about $3K, but that's only for the recorder alone.

The problem is the need for decent microphones, particularly good wireless transmitters and receivers and high-quality lavs. Those will cost a lot more than $3000. A single channel of lav, transmitter, and receiver typically goes for $2K. Three of them are $6K. Then a good boom pole and a shotgun mic and a mount are $2K, and then there's batteries and chargers. It's kind of like pricing a camera system: the camera might be $10K, then you find out a tripod, kit of 5 lenses, mounts, matte box, and so on are $20,000 for a very basic setup. The accessories are what kill you.

There are great rental companies out there who will rent you a $20,000 package of sound gear for maybe $300-$400 a day, depending on what specific components you get. This may prove to be a much more affordable option that buying this gear. And there are hundreds of sound mixers who provide their own gear as a package price.
 
Bob Gundu said:
I doubt RED have changed that as the Epic could only do mic level.
Click to expand...

DSMC² REDVOLT Expander will take both balanced line level or balanced mic level.
The DSMC² Base Expander accepts unbalanced mic level only.
 
Hello
I'm in the same situation as Scott.
is somebody have opinion about the use of new Sennheiser avx mk2 set recording device, for interview with Raven (or scarlet-w):
http://www.bhphotovideo.com/c/product/1135452-REG/sennheiser_avx_mke2_set_4_us_avx_camera_mountable_lavalier_pro.html
How to mount it on the brain?
I'm new on red system and before that i've always put music on images when editing.
Thanks
 
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