2 actors,2 lavs?? shotgun?? 1 dvx100

V

vicente velasco

Member
hi guys

tuis is my question:

I will be shooting 2 actors, ind00rs /outdoors,\
several scenes but always 2 actors dialog and only 1 dvx100a.
money is tight so i want to route the audio directly on the XLR of the camera,


so guys what should be the best approach here??

1 shotgun or 2 lavs????

if 2 lavs do i need to buy a receiver for each lav??? and route each lav receiver
on each channel XLR of dvx100a???

thanxssss
 
Routing the audio to the XLR is the way to go; the DVX100 has superior Audio capabilities!

I'd suggest using a Shotgun mic.
 
depends on the sun or light , shooting angles and your boom operator not to mention the external noise and reverb on locations you work .
no easy answer

And John ,the Superior audio capabilities is very subjective issue :-)
 
Here's how my friend (a professional sound mixer) mixed an independent film in a scene with only two actors . . .

One wireless lav on each actor, each lav going to a separate channel (each lav needs its own transmitter/receiver). In ADDITION to the wireless lavs, he sent one boom mic going to the other two channels. Fourth channel I think was fed camera mic. If your resources are limited, I would go with the single boom mic. If you want, you can send camera mic to the other channel for safety (although you'd never WANT to use that sound).
 
vicente velasco said:
if 2 lavs do i need to buy a receiver for each lav??? and route each lav receiver
on each channel XLR of dvx100a???

thanxssss
Click to expand...

Remember, lavalieres do not have to be wireless. And wireless does not require lavalieres. People seem to lump "lavs" and "wireless" together. One of my favorite mics is a Tram TR50, and it's a hardwired XLR mic.

If you go wireless, yes you'd need one receiver for each transmitter.
 
when you will find the way to insert aditional 2 channels to dvx, ill be glad to know about , what your friend did is not call mixing , it calls recording the tracks , i hope he didnt do it with xl1 or 2 since it sounds horrible in 12bit,
it sounds horrible with 16 bit as well :-)
 
ExileOnTheMainStreet said:
when you will find the way to insert aditional 2 channels to dvx, ill be glad to know about . . .
Click to expand...
Come to think of it, I think they only had two tracks. Don't know what camera they were using. He mixed the two lavs into ONE channel (not the best, but hey, there were only two channels), and he sent the boom to its OWN channel. That's what they did. Sorry for the confusion.
 
Without mixing the issue of wireless and lav (as I did on an earlier thread), I will still stand by my recommendation that if you can't record all three on separate tracks in some way (but not using the 12-bit option on the camera) then I recommend you go with just a boom. If you don't have a mixer and someone to watch levels, then use the standard DVX trick of setting the level on one channel about 25% less than the other, so if you do get a spike, you won't get a blow-out. And, regardless of whether the lav is wireless or not, you shouldn't get any clothing rub noises on the boom (or if you do...it's a bit too close.) ;-)

Now, that said, if you can get a mixer, you do have the option of running the boom on one channel, and the lav's on the other, but you do introduce a new challenge in post if you try to mix the lav and boom audio in the same scene/take. Or, best option - get a recorder that records 3 or more tracks (Edirol, SD 744, or Deva to mention a few) and record everything on its own track. Or get a two track recorder and run some audio into the camera and some to the two track recorder....or .....aw heck, just hire a sound guy and don't worry about it. :-)

Phil
 
NBCshooter said:
Come to think of it, I think they only had two tracks. Don't know what camera they were using. He mixed the two lavs into ONE channel (not the best, but hey, there were only two channels), and he sent the boom to its OWN channel. That's what they did. Sorry for the confusion.
Click to expand...
why - that's call mixing and if you do it right , the editors love you , no need recording separate tracks even they are exist
 
usually there is no one solution if you want keep your production track good on every shot , so -get at least 1 boom mike and one wireless for situations you will have to deal with - sorry but actually you are asking question which couldn't be unanswered until you see the frame , that's why quantity is usually better then quality
 
Okey dokey, firstly, yes the DVX's audio is fine. But not superior. ha ha! And as exile says, recording 4 tracks on the dvx would be a miracle. Because it cant.

I would recommend what exile has told you - get a good boom mic (an At4073a for exterior, and Oktava M012 for interior), and get a couple decent lav's - wireless or wired depending on your situation.

Just for the record, guys: lavs are just microphones, they have nothing to do with "wireless" - lavs are wired, whether they are being run through the air, or an xlr.

The only difference is the connector on the end of the mic, and at the end of the day, you can always just cut em off and put new ones if you want to use the mic in a different way.
 
Just for the record, I work in this type of situation often:

I use a SD302, and run wireless or wired lavs for both of the actors. these are hard panned to one channel.

I then run an AT4073a or Oktava on the other channel. this is an insurance against dropouts on the wireless system, plus the boom usually sounds best anyway. the wireless is cool to fill in on longer shots.

So thats probably the most common solution (in general) to your situation...
 
timapter said:
Just for the record, I work in this type of situation often:

I use a SD302, and run wireless or wired lavs for both of the actors. these are hard panned to one channel.

I then run an AT4073a or Oktava on the other channel. this is an insurance against dropouts on the wireless system, plus the boom usually sounds best anyway. the wireless is cool to fill in on longer shots.

So thats probably the most common solution (in general) to your situation...
Click to expand...

+1

Thats what I would do. If it means finding a soundman, then do it. Try to get the best audio you can with the boom and use the labels as back up if you must.
 
John_Hudson said:
Routing the audio to the XLR is the way to go; the DVX100 has superior Audio capabilities!

I'd suggest using a Shotgun mic.
Click to expand...

Except for the delay in audio monitoring which is VERY offputting.

Ty Ford
 
timapter said:
Just for the record, I work in this type of situation often:

I use a SD302, and run wireless or wired lavs for both of the actors. these are hard panned to one channel.

I then run an AT4073a or Oktava on the other channel. this is an insurance against dropouts on the wireless system, plus the boom usually sounds best anyway. the wireless is cool to fill in on longer shots.

So thats probably the most common solution (in general) to your situation...
Click to expand...


exactly what i did with my 3 channel mixer for a short film this weekend..worked for me! the boom sounds best to me as long as you get in there..and of course get room tone to fill in the gaps!!

e
 
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