Mic straight to camera or mixer?

Adam J McKay

Adam J McKay

Veteran
I am currently shooting some shorts, I have a relatively nice sennheisser setup to go with my dvx. I have achieved good results plugging directly into cam but I have heard that alot of people go to a mixer first or just record the audio seperate? Does it make that much a difference?

Thanks,
 
It does not. With a good mixer you can possibly get 10 dB more S/N ratio, but when they are in low minus seventies anyhow, who really cares? WIth good mixer you get better limiters also, but then again you have to lug that darn mixer around...

So, for simplicity straight to cam, for that extra bit of quality and better gain riding, mixer. Separate recording is for extra extra quality, 24 bit safety and no cables to camera (more hassle in edit...).
 
you dont need to record the audio separate with camera which could exept line level
but its goofd to avoid camera preamps if they shity ones and get normal working with separate device ( aka mixer /preamp)
 
I have a A1 with NTG-2. My cameras preamps annoy me so bad. im looking into to buying a mixer to avoid such problems in the future. Look at sound devices, i believe they have some good ones for a fair price.
 
nantnee said:
I have a A1 with NTG-2. My cameras preamps annoy me so bad. im looking into to buying a mixer to avoid such problems in the future. Look at sound devices, i believe they have some good ones for a fair price.
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I have gotten about 80 dB S/N ratio from XH-A1 using mic level signals. I do not think that XH-A1 has bad preamps. It is somewhat of a fashion to blame everything on cam preamps these days, methinks.

Certainly something like sd302 is nice to have, but maybe better mics first?
 
I am currently rocking the ME66 and 67 with my dvx and im loving the results. I had the same setup with my xh-a1 before I sold it and I didn't have any of the preamp problems.
 
Petrus said:
I have gotten about 80 dB S/N ratio from XH-A1 using mic level signals. I do not think that XH-A1 has bad preamps. It is somewhat of a fashion to blame everything on cam preamps these days, methinks.

Certainly something like sd302 is nice to have, but maybe better mics first?
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What settings did you put the camera at. In post, all i hear is a static sound.
 
If you plug your mic into something like the Zoom H4, and hang that onto your boom operator's belt, then your boom operator can be totally free to move and position completely autonomous from the camera. The H4 has two combo inputs -- 1/4" or XLR -- and switchable phantom power, so you can run just about any kind of microphone with it. I like mine a lot!

But the Zoom isn't the only digital recorder you could do this with. This kind of setup gives you advantages in situations where your camera or mic -- or both -- need to be on the move. And it cuts down on the danger of somebody tripping over a cable and pulling your camera and tripod over.
 
Mic power? Turn phantom power on.

Bad cable? Try another.

Did you have the XLRs turned on from the menu? If not, you are getting the built-in camera mic, not Rode.

Which channel did you have the Rode connected to? It is possible to have it on CH2 and the routing switch sends CH1 mic (or none) to both channels.

I do not have the cam here with me, just set all the switces in the correct positions and adjust the audio levels to hit next to last marker on peaks. Use manual levels.
 
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Petrus said:
It does not. With a good mixer you can possibly get 10 dB more S/N ratio, but when they are in low minus seventies anyhow, who really cares? WIth good mixer you get better limiters also, but then again you have to lug that darn mixer around...

So, for simplicity straight to cam, for that extra bit of quality and better gain riding, mixer. Separate recording is for extra extra quality, 24 bit safety and no cables to camera (more hassle in edit...).
Click to expand...

Well said, Petrus. It's about need and money. A lot of folks shoot with no audio person or mixer until the action gets too busy. At some point, you need another human being to handle the complexities. Having a good person to record the audio means fewer mistakes, fewer "overs" and less time spent in post production correcting audio problems.

If you want to spend your time in post rather than getting more of it right while shooting, fine, but it does have a cost.

I do mostly ENG, corporate/industrial and commercials. I enjoy helping in areas other than audio. So far, none of these shoots have been union, so I can do that. On the last shoot I worked, I ran the third camera and did audio for a series of two shots.

I'd been working with this production company for a long time. It made sense. They needed a third XL2. I have one and a good tripod. So I got my audio rate plus a bump for the camera. I also helped solve some of the lighting issues during setup; working with the DP and grip.

If you are a die hard one-person-operation, you simply can't imagine hiring someone, period. Eventually that will limit the kinds of jobs you do because, at some point, you need more hands, brains and gear to get to the next level.

That's where a lot of my new business comes from; shooters who are working their way up and get a project they need help on. Although I'm an audio person first, I have a 4 piece light kit, camera, and tripod. I can strike or reset while they are figuring out what to do or are schmoozing with the client.

Regards,

Ty Ford
 
chapelgrovefilms said:
If you plug your mic into something like the Zoom H4, and hang that onto your boom operator's belt, then your boom operator can be totally free to move and position completely autonomous from the camera. The H4 has two combo inputs -- 1/4" or XLR -- and switchable phantom power, so you can run just about any kind of microphone with it. I like mine a lot!

But the Zoom isn't the only digital recorder you could do this with. This kind of setup gives you advantages in situations where your camera or mic -- or both -- need to be on the move. And it cuts down on the danger of somebody tripping over a cable and pulling your camera and tripod over.
Click to expand...

How are the XLR preamps on the Zoom H4? I was just about to get one of these, and now I'm worried I'll be getting lots of noise from the preamps.

If I end up needing to get a mixer or a separate preamp, it kind of defeats the point of me looking at the Zoom and saving money so in that case I'd go in another direction.
 
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