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Best option for audio feed to 5D and 7D cameras


Michael Miramontes

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I did a small shoot with a 5D and a Senny G3. We did some interviews and got b-roll. Persons being interviewed wore the G3 Tx and the G3 Rx went straight into the 5D. Here's the video:

http://www.youtube.com/watch?v=uBBZfHiSZwk

So the girl in the white shirt wouldn't let you put your mic down her shirt huh? lol

Thanks for the video. It's nice being able to watch/hear something done the way everyone is suggesting.

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Steven,

Yes it looks bad, it was extremely rushed(we were there about an hour) and I should have at least tucked under the shoulder strap.

Probably the same reason why I recorded straight to the 5D instead of using my Sound Devices recorder. They didn't pay me enough and I guess I just didn't care. Poor excuse I know, it likely won't happen again.

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Brandon,

Irrespective of whether the mic was inside or outside her clothing, what was behind the decision of just draping the cable over the exterior of her shoulder?

???

Steven

I was waiting to see who was going to chime in on that..haha

BTW, what is the title of the song used in the video? I think it'll work in a short I'm cutting together.

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" if this is a good option or ... "

this thread is a rehash of several past, and even ongoing discussions of dSLR audio.

" Best option... " ??

there are certainly lots of options, and many of us have employed several many of them depending on the circumstances which vary.

" Best option... "

Frankly, I suspect the OP brought this up looking for "us" to tell him it is OK to do what he planned to do.

Michael: it is OK to do whatever you want to.

That said...

" good enough for scratch track but forces Them to use production sound from the bag. "

we have another thread with someone unhappy that "they" used what he sent to camera-corder.

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Frankly, I suspect the OP brought this up looking for "us" to tell him it is OK to do what he planned to do.

Your suspicion is incorrect Sherlock. ;D If there is a better way of doing what I was hoping to do then I would gladly adopt that method since chances are you guys worked out all the kinks. From what I gather it doesn't seem like I can get around having to send them my audio files if they want better sound. Oh well.

Thanks a lot for always chiming in though. I can always count on the Senator to answer my questions within an hour. (no sarcasm here. I'm being serious)

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The inputs on these DSLR's are "mic" in's...so im guessing they're going through their own pre-amp. So, adding another pre-amp no matter how good it is, will still get tweaked in a DSLR quality fashion. I'm for the G2-G3 workflow if sound must go to camera. Seems easier and more cost effective so far.

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Who can really tell how good the sound is on that video with the drum machine tapping cymbals throughout the piece? And that candle shot and 2" depth of field keeping everything out of focus! That's some awesome shit.

But seriously, the sound and image was as good as it needed to be for the end result. I suppose that's what matters.

Robert

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I try not to use that method of recording and it's definitely not my best work, but I wanted to show that recording to the 5D can be "good enough" for some projects.

I really try not to have a "good enough" attitude, but certain situations don't allow for proper recording sometimes.

I made sure to tuck the interviews into the music, so you couldn't tell how good or bad the sound actually was. ^_^

By the way, Zeiss 35mm T-1.4 was used to get those shallow depth shots.

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I haven't seen my method listed... I use an SD302 connected to a Zoom H4N, and the mini line output from the Zoom gets connected to my Canon 5D with this cable. The cable converts from line level to mic level, with a headphone out. I use tone from the 302 to set manual levels on the Zoom and 5D, and it works great. I use a headphone extension cable to allow me to set the Zoom away from the 5D.

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  • 1 year later...
  • 2 weeks later...

Doing a shoot with 2 7D's tomorrow.  Using dumb slate, no TC by request of post, straight to 744T, 3 ISO's. Should be straight forward and simple.  Sounds like plural eyes in post to me.

We do mostly post, but certainly do a share of production as well. Our last 3 shoots have been 5D or 7D.  We use our Dumb slate, but if the subject(s) are not professional talent and/or it is a sensitive subject, the Director or DP may prefer not to.  So, we send 1 beep for "rolling" and 2 beeps for "cut", but even that is not necessary.  Cameras on our shoots have been stationary, or on a dolly system, so we feed a mixer/camera cable with an adapter and 12' cable with a mini plug on the end off of the 552 and set the 7-pin for mic level.  For a second camera, we either use the other sets of outs and set them to line or whatever, or reverse which outs are feeding the camera.   We have not needed a wireless feed to the camera yet, but down the road we'll add that as an option when they go SteadyCam.  Tough, in one of those cases, we just turned on the microphone and use the clapper slate. PluralEyes is used by the video editor on our recorder files and no problems so far.

 

So, yes, it is pretty straight forward and simple.

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It's been a while since I started this thread. It's nice to look back and see how puzzled I was at figuring this problem out. 

 

Now, I just slap on an ERX1tcd to any camera I come across. Problem solved!

The ERX1tcd puts timecode on an audio track does it? Can Final Cut see timecode from an audio track? If it cannot and the edit is in Final Cut how is that dealt with?

thanks

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The ERX1tcd puts timecode on an audio track does it? Can Final Cut see timecode from an audio track? If it cannot and the edit is in Final Cut how is that dealt with?

thanks

No, Final Cut cannot read TC from an audio file.  A nifty program called PluralEyes.  Here is a demo on their website for FCP 6&7

http://www.redgiant.com/videos/getting-started/item/337/

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