Sure...but how well does it record sound?

The Audio in the DVX

The Audio in the DVX

[font=&quot]BiLGaMi Video Productions[/font][font=&quot] :thumbup:[/font]

The audio recording in the DVX is great so Im sure the HVX will be just as great what I dont like is the idea not being able to run the audio thru a mixer if shot with the P2.

[font=&quot]bilgami@hotmail.com
http://www.bilgamivideo.com[/font][font=&quot][/font]
 
If you insist...

"Okay, listen up P2, you've been a good kid, but it's about time you understood there's not enough room in the world for the two of us. I'm gonna give you the count of 10 to git out a here. 1, 10. BAMMM!!!"

P2's been offed for good.

P2's allow us DVC-Pro. DVC-Pro allows for 4 channels of audio, on this camera anyways - 2 of which (at least) are balanced inputs).

But what ever gave you the idea that recording to P2 would exclude the Balanced Audio inputs and any hope of getting quality audio in from a separate mixer?
 
So, I understand that I can record directly into Final Cut Pro 5 in my powerbook, bypassing the P2 card. Is there any reason I shouldn't be able to simultaneously record audio through my Metric Halo firewire audio interface for pristine audio that will sync up perfectly with the video in FCP and live happily ever after?
 
tuface said:
So, I understand that I can record directly into Final Cut Pro 5 in my powerbook, bypassing the P2 card. Is there any reason I shouldn't be able to simultaneously record audio through my Metric Halo firewire audio interface for pristine audio that will sync up perfectly with the video in FCP and live happily ever after?
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Well, two or three issues:

1) If you're running two separate apps simultaneously (for video and audio capture),
a) They're not necessarily in exact sync (but see below)
b) They may contend for resources and cause glitches (though I think a lot of people seem to do this, I wouldn't for anything critical, especially on a laptop)

2) I have FCP 5, but frankly haven't dealt with it yet (waiting to finish up a backlog of old projects first). But I seem to remember something about multitrack audio recording... so if you can indeed use your Metric Halo through, say, Core Audio to record everything at once in FCP, I think everything should likely be in sync.

I almost always capture to FCP and record to ProTools simultaneously, but on separate computers. I have a setup that usually enables me to feed my preamp output to both ProTools and the DVX simultaneously (usually the two main channels of a multitrack mix). This provides a good visual reference to align the audio visually by waveform. Sometimes I feed the DVX the OUTPUT of ProTools, but this of course has a little delay, and must be compensated for by shifting the audio... but, of course, such compensation often has to be done anyway due to mic-camera distances. However, by feeding the output of PT to the DVX, I'm prone to losing everything if there's a PT failure. Hasn't happened yet, but I'm too paranoid to do so in critical situations... the DVX recording of the preamp output is pretty nice, especially as a backup. I like backup; for major productions I'm quadruple-redundant!

How good is sync recording like this (or in 1a above)? well, here's the trick - I usually record in PT at 44.1 rather than 48, 'cause my primary products are often CDs. Even with the conversion, I've never seen slip of more than about 1/2 frame per hour of continuous recording. Without the conversion, it's usually a little closer. (Conversion done in PT at Tweak Head setting).

I hope this is helpful...
-Barry
 
Ok... that whole Pro Tools setup must be rad... but before we get too far into this. Since the sound quality should be the same of the DVX or better (unless panny backtracks but does anyone think there is even a chance? :huh: ) help me get this straight... the Phantom power generator and the preamps are the problem, right?

What is a cheap way to solve/avoid this?
 
Good info Barry, thank you.

I'm more interested in recording at 24 bit, which is a limitation I'd put ahead of phantom power and preamps, which you can buy decent external units fairly cheap.

I haven't looked at the Latino's national spending lately. (why would I?)
 
Well, I mentioned ProTools as he setup I'm familiar with, but hopefully other sw/hw combinations would provide equally satisfactory results.

The preamps on the DVX indeed seem to be the weakest part of the audio system; again, not bad at all for a camera, but not up to par with decent dedicated pres. Running external pres and sending their line-level input into the DVX gives a better result. I've had pretty good results (balanced against portability) with a PreSonus BlueTube 2-channel preamp. Needs power source, though...

tuface said:
I haven't looked at the Latino's national spending lately. (why would I?)
Click to expand...
I'd assume it has to do with fair representation in programming... me, I'm holding out for some decent Quechua programming in the U.S....
 
Couldn't we go firewire out of the audio interface into the HVX using P2 and keep the signal clean at 24 bits, or is the HVX only capable of processing 16bit? In other words, if we bypassed the HVX's A/D converters altogether, can it keep the audio at 24 bit?.

I'm with you on the Quechuan thing. How about The Inca Empire Strikes Back as a future project?
 
10 to 1 the audio will be 48k 16bit in the camera. It is the standard. 24 bit audio is always dithered to 16 bit for delivery and the in camera audio circuit would match.

Our DAW (portable and in house) consist of Sonar 4 Producer, Sound Forge, Ableton Live and Reason Adapted. We use 8-10 discrete channel audio 96k 24bit (Edirol UA-101 and FA-101) to feed the DAW's. Depending on the setup the noise floor averages around -96db. Our Panasonic camera's preamp noise floor is -50db (sometimes -45db) which is audible so we alway have to "de-hiss" the audio.

I'm not into splitting hairs about the HVX but it would be nice to get at least a -75db noise floor out of a solid state camera.
 
tuface said:
Couldn't we go firewire out of the audio interface into the HVX using P2 and keep the signal clean at 24 bits, or is the HVX only capable of processing 16bit? In other words, if we bypassed the HVX's A/D converters altogether, can it keep the audio at 24 bit?.
Click to expand...

Well, firewire audio I/O generally requires pretty specific software drivers on a computer, so this will 99.999999999999999999999999999 % not be available as an option for the HVX. Anyway, I think the DVCPRO spec is 16-bit only....



How about The Inca Empire Strikes Back as a future project?
Click to expand...

Sure. We can find cheap actors in Bolivia a la Sanjines...
 
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