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


Michael Miramontes

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if you need to go straight to camera, the sd mixpre-d is the best option. but still on the 7d you cannot turn off the auto gain control of the audio. the 5d and 60d you can set the audio to manual. thats half the reason i sold my 7d and got a 60d, but i have one of those beachtek boxes and wish i would have got mixpre-d instead...

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I had a couple of cables made up. Couldn't tell you the exact wiring, as I left it to my guy who knows his stuff...but it takes the balanced out's of my 552, Y cable to a single XLRM (with left on one of the pins, right on the other), then I use a normal XLR with another specially made cable on the end - XLRF to 3.5mm TRS. Feeds an unbalanced stereo signal to the camera and I mostly only ever use it for sit down interview type stuff. Run and gun this would probably be clunky at best.

Looking at the price of the G3 100 series stuff tho has me thinking maybe it's time to give Sennheiser some of my money...

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if you need to go straight to camera, the sd mixpre-d is the best option. but still on the 7d you cannot turn off the auto gain control of the audio.

You can force the automatic gain off on the 7D by using the Beachtek DXA-5Da. It sends an ultrasonic signal out to "fool" the AGC to allow a passable dynamic range to get through. It's still not great audio, but it's better than the default.

I still record audio on CF cards, and I'll put up a fight if the client wants to try to actually use the audio on a 5D or a 7D.

--Marc W.

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The only downside to that Michael is that the DP has to switch off any on-screen menus he is using as these transfer with the HDMI signal to the recorder

Maybe I can hook this up to the DP's rig then. I'm trying to see if I can streamline the process for the producers so they can save the editor time syncing audio and converting the video to Prores 422. In other words, I can offer a service that would save them more money in the long run despite my increase in rate for offering such service.

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I had a couple of cables made up. Couldn't tell you the exact wiring, as I left it to my guy who knows his stuff...but it takes the balanced out's of my 552, Y cable to a single XLRM (with left on one of the pins, right on the other), then I use a normal XLR with another specially made cable on the end - XLRF to 3.5mm TRS. Feeds an unbalanced stereo signal to the camera and I mostly only ever use it for sit down interview type stuff. Run and gun this would probably be clunky at best.

Looking at the price of the G3 100 series stuff tho has me thinking maybe it's time to give Sennheiser some of my money...

A new G3 will run about $600. Look for used on ebay or dealer consignment lists & save $2-$300.

Eric

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Comtek wireless - good enough for scratch track but forces Them to use production sound from the bag. You're also not cabled to the camera. Keeps everyone happy, you still get rental for providing them with broadcast quality sound from your bag (that's why you're there, right?), and you don't have to be tethered to the camera.

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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

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

Very nice. Better than what I would have expected from DSLR tracks.

Eric

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