Zoom H4n Firmware Update Gives XLR Inputs Independent Audio Levels

This is all 24 bit audio off the Zoom H4N going directly in with a sanken CS-3e in the most horrible of sound environments possible... a small echo filed tile kitchen wide shot with wood floors in a total echo filled apartment. I was using blankets and carpets to try and remove some echo - this was the toughest shot for sound wise yet it still came out perfectly usable for as horrible a sound situation it was. After I do some EQ and remove low rumble and compress and tweak it, it will be better.

Don't even judge the image quality as this is a clip out of vegas with the crushed blacks (without me fixing it with color correction) issue and a low bitrate encode...

http://www.youtube.com/watch?v=WWpsWs7Tc0Y&fmt=37


Note, this was at the end of a very long shoot... the cursing at everyone was a long running gag, no one is really mad at anyone.... we were all joking and slap happy at this point... but if you took this out of context I look like I am really pissed and being a total asshole.... it was just me being silly we were all cursing each other out as a joke in every sentence by the end...

- Blackout
 
that was fun to watch..
good enough for me.. although the DR100 is the same price- so what's the advantage of the zoom?
and btw :
IF we can get the HDMI advantage, maybe it would be wiser to buy only a KiPro Mini or something - instead of a separate audio recorder...
 
I would have expected a never version to come out since the H4N has been out for a while but with this big firmware update, it's starting to not seem likely. Definitely not a bad unit for $280.
 
I only had the dr-100 for a little while so I can't say I did full and serious a/b comparison testing but I remember quickly going with the zoom h4n for the sound of my sanken cs-3e going directly in it seemed better. Audio is so damn subjective though. Also it took returning the zoom 3 times to b&h to get one that sounded right, the first two I had - had something funky going on with the preamp or levels and either distorted or sounded like cardboard. The dr-100 seemed to have more hiss although this may have just been the headphone amp.
 
I'm curious why you kept rolling when what I'm guessing is the air conditioner(?) is roaring in the mic? Was no one monitoring the sound?

Blackout said:
This is all 24 bit audio off the Zoom H4N going directly in with a sanken CS-3e in the most horrible of sound environments possible... a small echo filed tile kitchen wide shot with wood floors in a total echo filled apartment. I was using blankets and carpets to try and remove some echo - this was the toughest shot for sound wise yet it still came out perfectly usable for as horrible a sound situation it was. After I do some EQ and remove low rumble and compress and tweak it, it will be better.

Don't even judge the image quality as this is a clip out of vegas with the crushed blacks (without me fixing it with color correction) issue and a low bitrate encode...

http://www.youtube.com/watch?v=WWpsWs7Tc0Y&fmt=37


Note, this was at the end of a very long shoot... the cursing at everyone was a long running gag, no one is really mad at anyone.... we were all joking and slap happy at this point... but if you took this out of context I look like I am really pissed and being a total asshole.... it was just me being silly we were all cursing each other out as a joke in every sentence by the end...

- Blackout
Click to expand...
 
I've heard over and over that the DR100 has better/quieter pres and is easier to operate. I had the Zoom and got rid of it because it was just to toy-like. But I replaced it with a DR-680, not a 100.
 
well the dr-680 is in a whole other league... I haven't gotten my hands on it yet. I thought the zoom was a toy too.... I didn't like it at all.... but my 3rd one is a bastardized thing and it works and sounds different and it works.... and it's cheap.. and most people can't tell the difference... which is unfortunate.. sound is not a respected field in film... not until you get into the high levels and you're union. No one wants to pay sound the proper fees and it is the last thing, sadly, that film makers consider and it is the biggest 'elephant in the room' in indie films. The sound sucks on 90% of the indie projects I see at festivals.
 
Last edited:
Yes I hate the ignorance of the indi "film makers" I have had to deal with concerning audio. They don't realize that audio more important than the visuals, and they get pissed when they have to spend any money on mics or mixers, or post audio, or original scores. The most important thing about a story is the story. And the story is told more than it is shown. Don't get me started...
 
Chadfish said:
Yes I hate the ignorance of the indi "film makers" I have had to deal with concerning audio. They don't realize that audio more important than the visuals, and they get pissed when they have to spend any money on mics or mixers, or post audio, or original scores. The most important thing about a story is the story. And the story is told more than it is shown. Don't get me started...
Click to expand...

Scripts are not really 'written for sound'... it's bad enough just trying to steganographically place camera placement and moves into a 'spec' script... let alone 'Foley'...
 
Every word spoken needs to be recorded. Every explosion, car running, bird chirping, fart, sigh and song must be recorded. It doesn't need to be in the script HOW it's recorded, but the mics used to make a clear recording as well as a mixer to protect the signal from clipping, as well as a recorder that is not designed for musicians to record their bedroom song ideas. - all need to be considered seriously, and not cheaped out on from the beginning when the budget is figured out. It's more expensive to re-shoot scenes another day because the audio distorted, but wasn't noticed due to crappy cans being used, or a weak headphone out on a consumer recorder. People will walk out of a bad sounding movie long before they will a bad looking movie. When a director is ignorant to this, the movie is in serious trouble. When nobody in production has the ability to tell the difference between good, decent, and bad sound, the film is doomed to not go anywhere. Really, if you look at all the movies that are technically right-on and still don't make it, to have compromises with one's audio is just insuring failure. Granted we all are learning here. But man, the thing's I've seen (heard) slide right past a director's non-discerning quality control are just tragic.
 
gpforet said:
I'm curious why you kept rolling when what I'm guessing is the air conditioner(?) is roaring in the mic? Was no one monitoring the sound?
Click to expand...

Actually no one was.... I don't bass cut on set... this was ULTRA low budget I was doing lights sound and camera..... that rumble was actually some crap outside the window that I could not stop or control, but after I low cut and do some basic noise canceling it'll be gone. Also - that is the WORST angle for the sound. I have very clean sound in all of the close ups and medium shots. I just posted this cause I thought it was funny and it's h4n 24bit raw.
 
Last edited:
Chadfish said:
Every word spoken needs to be recorded. Every explosion, car running, bird chirping, fart, sigh and song must be recorded. It doesn't need to be in the script HOW it's recorded, but the mics used to make a clear recording as well as a mixer to protect the signal from clipping, as well as a recorder that is not designed for musicians to record their bedroom song ideas. - all need to be considered seriously, and not cheaped out on from the beginning when the budget is figured out. It's more expensive to re-shoot scenes another day because the audio distorted, but wasn't noticed due to crappy cans being used, or a weak headphone out on a consumer recorder. People will walk out of a bad sounding movie long before they will a bad looking movie. When a director is ignorant to this, the movie is in serious trouble. When nobody in production has the ability to tell the difference between good, decent, and bad sound, the film is doomed to not go anywhere. Really, if you look at all the movies that are technically right-on and still don't make it, to have compromises with one's audio is just insuring failure. Granted we all are learning here. But man, the thing's I've seen (heard) slide right past a director's non-discerning quality control are just tragic.
Click to expand...

Hahaha - Chadfish we'd be good friends. The first speech I give to indie people is very close to what you just said and it's called the 'sound manifesto' why sound is more important to your movie than your visuals are. People think that's nuts, but it's true. All the film schools are filled with kids wanting to be 'directors' or 'writers' or 'producers' or DPs but no one goes to film school for sound, and most people going to be a sound engineer don't go for film, they go for music recording, so there is this huge wasteland gap of a lack of pro sound or even understanding in the indie film world.

I haven't seen a silent film in quite a while have you?
 
You must log in or register to reply here.
Back
Top