Four Channels from Bag to Camera

[Baker Park]

Bump... Is anyone sending 3-4 channels to 4 input/channel cameras??

I have been running 3-4 channels iso to camera from a bag. I have both a 442 and a 302. I want full control/metering of each iso and full use of in and out limiters. I believe "Dirty Jobs" has been stacking 302s for their work. I don't know if this is to feed multi cameras or multi channel to single camera. How are you working with multi channel ( >2 ) cameras? If you are using multi mixers how are you doing village mix down?

Thanks as always.

 

[Baker Park]

Anyone????

 

[Erik Olson]

I know of a few operators who stack 302s instead of using 442 or 552s. For multi-track recording - ISOs for more than 2 input channels - most operators I know go double system into Devas or SD744/788s.

I've never had an operator run two break-aways to the camera for four channel recording. I'd be interested to know if anyone is?

 

[Rippie]

if you insist on input limiters AND output limiters/ metering..yes you'll
have to use 2 mixers.

Just my own personal opinion but going this route seems like overly
complicating things.

I'd use 1x 442 and go out the direct outs. If you want pretty close metering
just sent your channel pots to unity so what is showing on your meters is the true input levels and adjust your trims from there.
(your output meters will be showing what your trims are set at)

In this world of digital as long as you're paying attention you'll be fine
without the output limiters. The input limiters should catch any unexpected
big jumps.


Just as Erik said the more standard way of recording iso's is double system.
I've yet to see a soundperson send 4 channels to camera.

The new 552 mixer has 4channels of digital out AES which can be sent on 2 channels
so I could see that changing things.

What camera are you using that has 4 external audio in's?

 

[Steve House]

...
I'd use 1x 442 and go out the direct outs. If you want pretty close metering
just sent your channel pots to unity so what is showing on your meters is the true input levels and adjust your trims from there.
(your output meters will be showing what your trims are set at)

...

You could also just hold the PFL switch over while adjusting the trims.

 

[Baker Park]

Thanks guys. I have been working with an HPX 500 and now will be pushing to a HPX 300. I guess I feel more secure with the SD limiters in and out and am less secure monitoring direct out to camera meters I can't see. Rippie and Steve, to understand you correctly, would leaving the faders at unity (or use PFL) and output limiters off (maxed at 20 as I believe they cannot be disengaged from input limiters) give me the best possible feed back on the mixer monitor as I work with the trims? as I understand it PFL on the 442 is post limiter....and do you have any feel for the character of the limiters on these two cameras? I am working with live music, commentary, and few second chances. Any further advice or clarification is appreciated. I would prefer a double system but these are many doc style shots with a tight post budget.

PS did I mention I don't have a nice expensive recorder or sync tools...some day but not now.