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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 :)

Why go duel?

F

Frank_L

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Why use a double system to camera and additionally to a third-party recording device? If audio to camera gets messed up, is it probable that the footage is messed up, too?
 
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From my understanding, a last initial is okay...
 
Pawel Achtel said:
We only engage in duel if someone does not follow (full) name policy. :biggrin5:
Click to expand...

:lol:

I am assuming you mean recording sound and video on the same device in addition to a separate sound recording?

Well tethering the sound to the camera can be restrictive, or very difficult logistically. But in order to sync sound from the "3rd party device" afterwards its a whole lot easier to record sound on board the camera to use as a reference, as that may not sound as good.
 
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Ok, thanks for the feedback, Justin. Now, I don't feel silly ordering a third-party XLR recorder in addition to a four channel mixer, LOL.
 
Frank_L said:
Why use a double system to camera and additionally to a third-party recording device? If audio to camera gets messed up, is it probable that the footage is messed up, too?
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No. I know of many situations where the picture was fine and the sound was horribly distorted, hissy, low in volume, or intermittent.

At best, I think the sound to camera should only be regarded as a temp mix. I'm a firm believer in always going double system and requesting that the editor use my sound for the final edit and mix. Anything else is too much of a compromise.

The only possible exceptions would be shooting under literal battle conditions, like in a war or a street fight, or jumping out of an airplane.

Keeping the sound separate from the camera will allow each department to do what they do best.
 
As long as you have a field mixer between camera and microphone - so you don´t use the cameras preamps, it should be the same as with any other digital recorder, but already in sync with your picture.

We did several tests and found no audible difference. There may be logistic or practical reasons but not quality wise - as far as i know.

Frank
 
Eh, Bruckheimer would be better for a Duel remake anyway, so practically anyone could direct it.
 
The school I go to is lucky enough to have 2 red ones. Half way through last semester an un-trained individual (I'm being very nice) had some trouble putting a CF card into our tascam recorder and broke all the pins. Long story short the other 10 productions were forced to run audio directly into the camera, or rent a recorder.

Yes it was a pain to get audio into the camera (especially during shoulder mounted shots), but if you send tone at a standard level, then make the audio inputs line level and match up the meters using the tone generated (in this case it was from a Sound Devices 442) the recordings were as good as if we went into the tascam.
 
Frank Glencairn said:
As long as you have a field mixer between camera and microphone - so you don´t use the cameras preamps, it should be the same as with any other digital recorder, but already in sync with your picture.

We did several tests and found no audible difference. There may be logistic or practical reasons but not quality wise - as far as i know.

Frank
Click to expand...

Any specific field mixer that you would recommend?
 
I shoot sound into a Panasonic HMC150, and run a boom in as well, sometimes boom into a field recorder. Always good to run two if you can, especially if you're using body mics and you're not getting much room ambience through them. Would only use the on-camera mic for a reference - it's easy to hand-sync the wild sound to the camera mic track by lining up the waveforms, which are always at least approximately the same shape.
 
I use a Sound Devices MixPre and it works well. As far as the logistics, the right way to deal with it is to get the proper ENG breakaway cable so the mixer can be instantly disconnected from the camera. This cable will also provide for a monitor loop to the camera and still leave the camera's headphone jack for the camera operator to use.

Bob
 
I agree with Frank: The RED One's four balanced audio inputs are perfectly suitable for broadcast quality recording, and in most applications, you won't need more than 4 discrete tracks anyway. It is important, however to have a quality field mixer in front of the camera to have complete control of your signal.

I recommend using a Sound Devices 552, and feeding the direct outs of 4 channels to the camera. This allows you to monitor and control the level of each input, while sending 4 discrete signals to the camera. The built-in tone generator will help calibrate the output level of the mixer and input sensitivity of the camera. Plus, you can record a 2-channel mix to the onboard SD card in the event there is a problem with the camera audio, and even stamp it with timecode.
 
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