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How Can I Run Audio from Board into a 5D?


Mike Wally

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Use blasts of tone, or some other audible sync point to give PluralEyes (or an editor) something to latch on to.

Someone on this very board has a Bloop Slate app (just do a search) for the iPhone (or iPod Touch) for $1.99 that might do the job, assuming you've got an iPhone that is...

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Could sound quality deteriorate if your primary audio source is the board? YES! Depending on the board. Are they using a Midas console (excellent) or a Crate POS they picked up from a used music store? Your Zaxcom Nomad will sound better than a lot of mixers on the market and probably better than what they have in house, just a guess though.

This is all basic, simple signal flow. The sound source is coming from the speaker (person, not loudspeaker) and you need to capture that audio as well as possible. As the Senator suggested your best bet is to get a matching receiver in your bag. Find out exactly what wireless system they are using and have production rent a receiver that can be put in your bag and tune in the mic they will be using. By doing this you will have all the level control you need and bypass their house system.

A timecode slate is extremely useful in this situation, even more so than PluralEyes. You jam the slate, the camera shoots the slate to see its running numbers. You don't need to jam the camera, and as you know, you can't jam a 5D. Yes, it actually requires the camera op to do their job (how dare we expect that?!) and shoot the slate. If they don't shoot the slate that is their problem, not yours. This is basic, production 101 stuff. PluralEyes is a great tool but relying only on it is dangerous. Use of a timecode slate and PluralEyes will give the editor a couple options for syncing the audio.

I would highly doubt having the camera hard wired to the FOH mixing board is a realistic option. I foresee a lot of tripping issues and will be dangerous. Not to mention the board may be prohibitively far away from where you will be shooting.

As Bernie mentioned, keep it simple. Another thing you didn't mention, and perhaps you don't know yet, but how big Is the physical space you're in? If they have a decent sound board you could put a wireless on an Aux Out set for post gain/pre fade and that will give you a fairly consistent level, unless they do a lot of mixing using the gain instead of the fader. However, if their FOH board is an all in one thing like a Crate or other simple setup then you may or may not have that option. Do you have a variety of adapters to get the signal out of the board? It may be 1/4" or XLR. And hopefully it has line or mic levels out because if it is a really cheap POS and it is an all in one unit it may also be an amplified signal in which case you're really screwed.

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" Find out exactly what wireless system they are using and have production rent a receiver that can be put in your bag and tune in the mic they will be using. By doing this you will have all the level control you need and bypass their house system. "

BTW, this (also basic problem solving!) could be reversed: You provide the wireless mic, and two RX's (on for them, one for yourself)...

" the camera shoots the slate to see its running numbers. "

the TC slate (open) is placed somewhere secure and out of the shot, and if needed, running on ext power! all this is pretty masic, simple problem solving stuff!!!

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Hey guys.

So, i finally was given more information (the day before, of course)

i convinced them to go with an FS-100, so I have a regular camera with XRL inputs now.

The PA system for the event that the house has is a Peavy xr-600 system. I can't take the plug from the microphone he'll be using, because he's going to be using the actual PA system so that people can hear him over the mic.

The PA system mixer has a 1/4 inch out, so I'm going to adapt that to an XLR and feed that into my Nomad-6. From the Nomad-6, I can feed an XLR into the camera (from a single XLR, or a breakaway cable). Or I can still try and send the signal wireless to the camera for scratch audio. Or I can use the add-on shotgun mount on the FS-100

If he breaks off from the tripod, I will have my boompole and mic ready to go for on the fly interviews.

Again, there is a lot more I'd like to have done, but when I get a call at 3pm the day before we're going to shoot, there is only so much I can do.

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I wholeheartedly agree and that is exactly what I would do if it were me (because I have the gear to do it) Of course, I still think that a simple "Y" splitter (xlr or 1/4") would work too.

" Can you split the output of his wireless microphone receiver, "

based on the PA system info, I'd make a WAG that the wireless has a 1/4" output going into the mixer,

better idea would be the OP's wireless and provide the PA with an RX for it.

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If the venue has a 'base station' type receiver, many Shure and Sennheiser base station models (as well as others) have both a mic level XLR and line level 1/4" outputs. In addition many boards have a direct out on the channels or at least some way to output you a single mic's signal. Of course then your at the mercy of the house engineer who may-or-may-not know the board's signal flow.. or how to gain stage for that matter.

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I would try to get a separate aux out feed from the board with just the channels you need as often main outs on boards have EQ and even reverb added to them.

An aux out , especially a pre fader one will allow you to have separate audio level and mix and a nice dry feed that also won't be as hot as a main feed out.

If its a pre-fader aux out then none of the sound operators EQ/effects adjustments and changes in channel and master house levels will affect your feed.

In terms of 5D interface, which is not an issue for you now , but for future reference Sescom has a very good selection of interface cables for DSLR's with built in attenuation as well as some great isolation plugs in familiar XLR to 3.5 as well that you should always have on hand in case your feed tie creates a weird ground loop to the board or your mixer-cam feed.

http://www.sescom.com/productlist.asp?cat=DSLR-Audio-Cables

http://www.sescom.com/productlist.asp?cat=Audio-Hum-Noise-Eliminators

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...The PA system for the event that the house has is a Peavy xr-600 system. I can't take the plug from the microphone he'll be using, because he's going to be using the actual PA system so that people can hear him over the mic.

The PA system mixer has a 1/4 inch out, so I'm going to adapt that to an XLR and feed that into my Nomad-6. From the Nomad-6, I can feed an XLR into the camera (from a single XLR, or a breakaway cable). Or I can still try and send the signal wireless to the camera for scratch audio. Or I can use the add-on shotgun mount on the FS-100

If he breaks off from the tripod, I will have my boompole and mic ready to go for on the fly interviews.

Again, there is a lot more I'd like to have done, but when I get a call at 3pm the day before we're going to shoot, there is only so much I can do.

What do you mean when you say you can't take the plug from his mic because he will be using the actual PA so he can be heard over the mic? That makes no sense. Is he hard wired to the Peavy POS or is he wireless? If he is wireless then do as the other posters said and just take a feed directly from their base station wireless. If he is hard wired to the Peavy POS then you're forced to either take a feed from the Effects output or put a Y cable at the end of their XLR before it goes in to the Peavy.

What do you mean when you say you can use the add-on shotgun mount for the camera? Are you saying that instead of feeding it a scratch track you will rely on the shotgun mic for reference?

When he breaks off from the tripod (not if) will you still have to be tethered to the board or would that be for a different segment of the show and you don't need to worry about the board feed at that point? I still foresee a lot of tripping issues with the camera tethered to you and you tethered to the board. Or is this all happening on a very small space and you and the camera op may only be moving a foot or two?

What wireless do you own or are bringing to this gig? Many of us are assuming, perhaps incorrectly, that you own at least a couple channels of decent wireless or are renting some for this gig. Is this the case or no?

A lot of people get calls with a lot shorter notice for much more complex scenarios and they make it work because of their experience, skill, and equipment. Just sayin'.

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Yea. And I was able to make it work for me, very simply.

I avoided the Peavy completely.

The House was using a Shure System - A flat elongated receiver with two balanced outs. One balanced out went to the PA system, the other balance out I ran an XLR cable to my Nomad-6. I was then able to have Mic, in essence, transmitting directly to my recorder. I used my breakaway cable to go into the FS-100, which stayed on Tripod the entire time, and monitored the return on the camera (while recording iso and a post-fade tracks) as a backup.

The only problems I ran into were people not understanding that they don't need to kiss the microphone. The main guy seemed to notice, though, and they were able to repeat things if it was really bad. Then there was handling noise on the mic, or people would tap it while talking. Not sure if there was anything else I could have done in that situation.

I've been freelancing for 2 years now, and so while I may lack the experience some others might have, I'm not a complete idiot. My kit is still in the process of growing/expanding as best I can afford. I'm not going to pretend to be an expert, which is why I brought this up on the forums - to get ideas and suggestions and share my way of thinking (and ultimately to learn and get better) from people who have been doing this for much longer. If i'm mistaken in the forums being here for that purpose, I do apologize.

Also, Matt, love your sound guy stick figure. He's badass.

Thank you guys again for all the tips and suggestions :)

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