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My 'issue' is the 'vibe' of the scene and the editorial sense (intelligence) needed to make it 'hang' together better. Geographically and temporally. No specific suggestion of mine is right/wrong good/bad. I think that a couple more options would be presented to the editor by.. -shooting...

yes tp 'jump' across the location might mean for the character to exit frame. (or not) Currently.. walking with the box by the window jumps to walking with the box in the middle of a different room. Should be walking with the box by the window.. exits frame left smooth transition to enters...

Its good fun. You had some story about conceiving this a decade ago? I think you need to shoot and edit more often. In the edit there is 'a thing' which is 'continuity' vs 'time steps forward' it seems that the cuts imply 'continuity' but the camera placement shows 'time has stepped forward'...

It is pure lack of knowledge that has made me scared of SPL. Not fact or experience. Im crawling about the stage sticking my lens in the drum kit 8 inches from the snare and my sanken is on the camera 4in from the snare and I have though.. "hmm is this a good idea - maybe I can break it"...

Yes if im doing a cu of the bass drum i could be placing the camera 8im from the pedal with a mic on top. Im not expecting usable sound from that mic. Personal safety - i use “chainsaw” ear defenders.

Thank you for your input. Clearly me being 'scared' of high SPL damaging a mic is not too much of an issue. With speaker stacks and drum kits or rear tailpips.. I might be there to collect some CU footage and the on camera mic is coming even if not gathering recorded sound. General robustness...

Thank you for this, it is helpful. Maybe we could get some specifics. I have my 'posh' sanken CS1 (I leave that at home unless its a corporate interview) and the attached 'free with a sony and rode video mics. 1) When im at a thrash band, large concert or motorsport even im afaid of breaking...

The fuss is.. first run version did not sound good. I was worried about ruining the microphones. (which I still dont understand!) Im still not clear which mics types dont get 'clipped' S

Absolutely. Its a skinny tin box with a muscle engine. It is so far from todays vehicles

the camera bit..

Maybe here.. panning sorted, my fav shot from day one pasted on.

Edit.. Im sorting out the panning I hope.. thanks for that Panning do you mean left/right . I though it was all mono.. but my laptop is not helpful even through cans. In term of jump cutting ths sound and level, which I do sometimes that is an 'artistic choice to say 'time has moved on' There...

Its also the nature of the market.. if your work is rolling for hours, maybe live, maybe at a sports even or political rally.. then 'proper' cameras are still the thing. For making 1min for tiktok or a 30s stock shot.. one does not need half of the stuff the big cmeras offer :)

Here are the three tracks. My feel is that the rode mics are being saturated in the bay and by the exhaust pip and they are the wrong mics. Maybe the C200 cant record.. but my 'feel' is that it is recording bad sound from the mics well.

So maybe you are swinging my way that a small camera with good EVF (and some body stabilisation) is fast becoming the sweet spot!

As a c200 owner.. I can say that the EVF is a total win vs the C70,C80 and almost C400 (which would be better if one could evf the stock screen) I cannot see a C70 or C80 'working' in a professional environment.

I only ever wanted a simple large format camera. I hated the 5d because it cut ths shot when the hdmni wobbled losing me an interview. I hated the FS100 when I shot in super sunny portugal with no ND filter (internal) and a base of 1000 I hated the F3 as I could not pick it up by the time I had...

on the monitoring you are both correct! with the actual noise (of the running car) time needs to be taken to test and then listen back as playback, I can monitor.. when the thing is revving. care=results. crew = results. Im juggling a lot but that is only my fault.

Absolutely. As I’ve stated before, the best results come from a blend of mic perspectives. What I really meant was that the subtle moves of the driver and thier reaction to gforces are lifted by synched audio More that specifically mentioning the quality of the audio.

Im going back. I think I keep the Sure mics in place (engine and exhaust) and I might put my rode video mic near the gear stick for a few more clunks S