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Suggestions for signal flow and managment.


caryclark

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So I am doing field sound for a student film. I will be using the following gear.

sennheiser lav's

sennheiser boom

sound divice 744t

sound divice 442

For most scenes I will be using 2-3 lavs and the boom. My question is: what are some good ways to set up my routing between the 744 and the 442. I was thinking I could keep two lavs on the same channel because the actor’s don’t often speak at the same time. But I am concerned that one mic could pick up unwanted sound or reverb while the other if functioning. I could also mix between them as well to reduce those kinds of problems.

Being that the 744T is a 4-channel recorder I was also wondering if it is possible to sent four separate outputs from the 442? I would think this is my best bet to obtain high quality sound. What have people done in the past? What has worked best for some people?

Also two unrelated questions: Is there anywhere to get good sound logs? and I always want to capture sound on the 744t with the fps setting on 30fps unless the final projection is going to be on film correct? How does capturing sound at different fps work exactly?

A lot of beginner questions here thanks for the help in advance!

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The direct outs of the 442 (TA3F connectors on the side) are always post trim/pre channel fader.  They continue to be fed even if the channel fader is all the way off.  As Scott says, you should download the manuals and read up--it isn't really very complex.  Be sure and talk over the audio post options with your fellow-filmmakers before you commit to any approach.  In low-budg filmmaking there is a huge advantage to keeping things as simple as possible.

Philip Perkins CAS

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