Audio Recording Equip...From Boom Mic

You know, honestly I would just re-jam every new setup, but I'm ultra paranoid. But I think you will be very safe with every hour. The drift wasn't severe at 6.5 hours (like 10 frames or so) and at an hour there was no drift. I'll keep testing (you should test too, I was running a TS2-SB at 30ND). I haven't tested other frame rates yet, but will. The TS3 has a new(er) crystal, so if the drift is in the slate, yours will probably be more accurate than mine. (BTW, the best way I found to test was to run video that included both the slate and the screen on the Tascam, brought it into Vegas and bounced frames to check. Some people also use a digital camera, which is probably easier.

Phil

EDIT: I just looked over my notes again (and the actual footage in Vegas) and I was way off (I always do this late at night...I need to start doing my posting in the morning right after my first cup of coffee). The drift started after _6_ hours, not 1.5 hours (not sure where that came from).

Sorry about the confusion. But, in my ultra-paranoid world, I would still re-jam durning each setup (besides, it means that you have control of the slate when equipment is being moved, not an AC, who probably doesn't understand that the slate costs more than he/she is making for the entire shoot. ;-)
 
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That is good news on 6 hours. 10 frames is ok, my editor will be able to handle that with no problem. Thanks for the update.
 
Well actually 10 frames is very bad but if Phil didn't notice any drift for 6 hours then that is good.
The problem with the ten frames is not the amount all at once but that you would be off by more than a frame at one hour and the offset would keep changing. That is a nightmare for post, it means nothing is in sync. You cant make one change because it's a drift not an offset so every clip needs to be hand sunk with no reference.
SK



marquee said:
That is good news on 6 hours. 10 frames is ok, my editor will be able to handle that with no problem. Thanks for the update.
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Okay, so just to clarify, I ran the test again today. Video at every hour. No drift at the five hour mark. So, ultimately, jam every couple of hours and you'll be fine.

Phil
 
dog666 said:
(sorry hit the return or something) at the M-audio micro track 24/96. Anyone know if this is good? What are the disadvantages of it? I am not sure, but I think it doesn't have XLR's....which I need for my audio technica mic, I guess I'm dum, but what is the measurement for XLR's? is it 1/4"? That's what it says for the inputs, plus coaxial SPDIF, and 1/8 "stereo mini eletret mic in (whatever that is.)

Also I was looking at the edirol/roland R-1 portable flash recorder. Are these good buys? Ben
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The Marantz PMD660 is $500 and has XLR, 48v Phantom power, and uses CF cards. It is the little brother to the PMD671. I have one and use it for an independent boom operator from the camera. The PMD660 is very light weight, records 48K/16-bit (same as DV) and I’ve had no problems syncing it although I haven’t used it for projects over 1.5 hrs. The mic pres are a little noisy when turned up but I’m using an AT897 shotgun and have no problems with this setup.

The Microtrack has no XLR inputs, only has 30v phantom power, and lacks the ergonomics of the PMD660, like a large volume knob and easy to read meters that are both on top as you wear the unit over your shoulder. XLR’s are on the bottom so they hang down as you wear the unit. Very well thought out. The Microtrack doesn’t even come close ergonomically. Marantz makes a remote for the PMD units that can be mounted on your wrist or the boom poll so that you can start and stop recording without taking your hands off the boom (the remote includes a record LED so you can visually see when you're recording) Overall I’m happy with it for my intended purpose.

This is the actual kit that I bought: Marantz PMD660K – ENG Kit. It includes the PMD660, Nylon case, Wired Remote, and a 10ft XLR cable. Just add a mic and boom and you’re all set.

~jr
 
2 frames are quite noticeable. Depending on what the sound is 1/4 of a frame can be enough to make something feel off. On the flip side there is 1-2 frames of difference between the closest seat in a good sized theater and the farthest seat. For non physicists, light moves much faster than sound.
SK

matthewd5 said:
they say that as little as 2 frames off is noticeable.

matthew
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