Best Sound with two Shooting Cameras

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official

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Hi Guys, I am so glad to find this forum and I wish to thank those who set it up as well as those who have continued to freely post and share their experiences with the DVX100.

QUESTION:
I am working on a low budget movie and wish to shoot with two DVX100A cameras to cut down repetition ratio. I am not too good at sound so I will really appreciate it if anyone could share any useful information on how to get the best sound with less money and still come up with less trouble during post-production editing. (I have never shot with two cameras before and I have little or no idea as to how to cordinate the sound and come up with good quality sound). All replies are appreciated.
 
Re: Best Sound with two Shooting Cameras

very simple:
If your using a mixer, split the output and send it to your cams.
If your not using one, I recomend getting one and learning how to use it.. post more info on what you plan on using as far as mics, etc.. and we will be able to provide more help..

cheers
 
Re: Best Sound with two Shooting Cameras

If not using a mixer, always record audio on just one of the cameras, and sync 'em both up with a clapper slate before each take...
 
Re: Best Sound with two Shooting Cameras

Thanks guys for the prompt response.

I intend to shoot in Africa and my enquiries reveal that with my budget, I can only afford a soundperson who is not really familiar with sound mixers. I don't want to ask the soundperson for too much and end up confusing things. I am still gathering information on which mics, etc. to use since I am new to digital filming. Any helpful recommendations on any applicable equipment (mic, headphone, etc) will be highly appreciated.

LsdSound,
Could you please recommend a good but simple sound mixer that a low budget can afford, so I can study to operate it myself for this purpose.
Barry_Green,
If I go as you suggested without mixer, do I have to TURN OFF or TURN DOWN the sound of the second camera? does it matter if I leave the (poor/low) mic on the second camera on?

Thanks
 
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Re: Best Sound with two       &nbsp

No, you'd want the sound on on the second camera, to use as a guide track to line up the "good" audio.

This all presumes that you'll be using proper microphones, not relying on the on-board camera mic, right?
 
Re: Best Sound with two Shooting Cameras

Another thing that may help is using free run TC for both cameras. This way it will be much easier to sync. And once you sync them both you can change your timecode to deal with TC's doubling up.
 
Re: Best Sound with two Shooting Cameras

Thanks Barry_Green,
Yes, I will definitely be using proper microphones, not relying on the on-board camera mic. I just have to figure the best low budget mic to get.

Prairieboy,
Could you please explain what you mean by "using free run TC for both cameras"
 
Re: Best Sound with two Shooting Cameras

Priairieboy has a point, regarding timecode -- if using two different cameras you can get them to sync up perfectly if you use free-run timecode instead of rec-run.

What you do is, set both cameras to accept the same remote-control signal.  Then use one remote to set the TC PRESET value.  Then set both cameras to use TC PRESET, and then set them both to FREE RUN.  When you exit the menu system (again, using the remote), both cameras should have exactly synchronized timecode.  The timecode will constantly advance whether you're running the camera or not (that's what FREE RUN means) and they should stay in perfect sync.  So when you're editing, you'll know that timecode 02:22:38:14 from camera 1 will exactly correspond to timecode 02:22:38:14 from camera 2...

When using this method it's vital that the tapes in the cameras have no timecode on them already. You have to start with completely fresh, blank tapes. If there's timecode already on the tape, that'll override the preset and ruin your sync.

Still slate for backup purposes if you have one, but the same-TC method is a great idea!
 
Re: Best Sound with two Shooting Cameras

CJ try searching on Ebay for a Shure FP (field production mixer) 31 or 32/32A. The 32A is really good but for your purposes the 31 would do. It shouldn't run you more than $250. If its more don't buy it. As far as microphones, if you are looking for a boom, you can also search Ebay for the Sennheiser 416. They come with T-power or Phantom 48. I got the T so I needed an adapter which ran $30.00. My 416 ran $330 and it works like new, or if you want to buy a new microphone, check out the Audio Technica 897, get a shockmount and boom pole and you should be ready to go.
 
Re: Best Sound with two Shooting Cameras

Thanks guys for your suggestions. I was out of town for a few days. I will apply the suggestions accordingly.
 
Re: Best Sound with two Shooting Cameras

[quote author=Barry_Green link=board=audio;num=1097937658;start=0#7 date=10/18/04 at 23:19:59]Priairieboy has a point, regarding timecode -- if using two different cameras you can get them to sync up perfectly if you use free-run timecode instead of rec-run.

What you do is, set both cameras to accept the same remote-control signal. Then use one remote to set the TC PRESET value. Then set both cameras to use TC PRESET, and then set them both to FREE RUN. When you exit the menu system (again, using the remote), both cameras should have exactly synchronized timecode. The timecode will constantly advance whether you're running the camera or not (that's what FREE RUN means) and they should stay in perfect sync. So when you're editing, you'll know that timecode 02:22:38:14 from camera 1 will exactly correspond to timecode 02:22:38:14 from camera 2...

When using this method it's vital that the tapes in the cameras have no timecode on them already. You have to start with completely fresh, blank tapes. If there's timecode already on the tape, that'll override the preset and ruin your sync.

Still slate for backup purposes if you have one, but the same-TC method is a great idea![/quote]

Thanks for this tip Barry.

David
 
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