Zoom H4n - just ordered

Question for those using the 5D MKII with the H4N? The 5D MKII records 44.1Khz audio. Since I only need the 5D MKII audio for matching sync, are people recording 44.1Khz with the H4N and just dealing with 44.1 KHz audio in post or are they recording 48Khz audio with the H4N?

I have been only feeding FCP 48KHz audio for the entire time I have been on FCP, even back in the day when DV camcorders like the VX-1000 only had 32KHz audio. I would always sample rate convert it to 48KHz. Now with the 5D MKII and the H4N, not sure what sample rate I should work at. I am not even thinking of 24/96 as it is total overkill unless you are recording classical or acoustic music or have talent whispering.

Recommendations from some 5D MKII/H4N users?

Dan
 
Dan,

The samplerate isn't going to be the dealbreaker for sync with the 5D. What will throw the audio out of sync is if you do not conform (slow down) the 5D footage from 30fps to 29.97.

I'd record at 48K since it's the standard rate for audio post. As long as you play the footage back at 29.97, you should be golden.
 
Thanks Kenn:

I understand that, I was just wondering if anyone is conforming their FCP timelines to edit at 44.1KHz if they were using the audio from the 5D MKII?

Back in the olden days of DV tape, this was such a big deal, but these days it seems as if this is not such a big deal anymore although even today, my G5 will still exhibit a few chokes here and there with mis-matched sample rates. Probably not an issue on a new Mac Pro though.

Dan
 
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Oh gotcha :)

Yea, these days, no real big issue with cutting in 44.1. I think for the most part, it ends up being more about your desired workflow and if you're going to be doing audio sweetening in another app. If you're staying in FCP from start to finish 44.1 will be fine. If going to DVD, the encoder will samplerate convert back up to 48K anyway.
 
yeehaanow said:
Audio for video I always go with 48k 16bit. Anything higher is overkill for dialog IMO, plus the headaches in the NLE.
Click to expand...

Perhaps for dialogue but in any case 24/96 can be converted down to whatever format is necessary...now perhaps the argument can be made that if it's going to end up in lower 'rez' then whats the point? But I'll leave it up to a much brighter spark than myself to elaborate (please be aware that this is based from a music perspective and if you are shooting dialogue only not necessarily applicable but for sound acquisition for post it definitely applies especially when you get into sound manipulation)

"Use 24 bit for every recording if you have this feature. I was a believer for the past decade that 16 bit was the way to go and I have absolutely changed my mind. No matter of what you are recording this is true. If you have a nice mic, a very good preamp and a clean audio system and are recording highly dynamic instruments such as acoustic guitars, classical orchestras, acapella vocals, the difference will be there. Quiet passages will be less likely struggling to stay above the noise floor on your system. One can record with no compression. You can record at lower levels, with more headroom. This ensures that the occasional peak is not truncated at the top and it will give converters some room the breathe. Because you are not pushing the limits of your bandwidth, your instruments will sound clearer, and the vocals may sound "cleaner", the song will mix better and there will be less noise." Mr. Tweak
Of course a lot of people won't be using their recordings for sound design and 'just' for recording dialogue...I would still recommend 24bit
 
Anyone know if using an XLR Splitter is okay with this system? Say if you want to run one Shotgun into both the left and the right channel?
 
Kholi:

While splitting an analog signal is never th best idea, you could probably get away with it and it would sound okay. I was just checking to see if Zoom built in double channel routing of single input sources as many electronics do. No dice, when you switch to the mic inputs, the mic channel indicator switch the mic is plugged into pulses with the signal, but both channels light up. But it only records to the channel the mic is plugged into.

Then there is the big picture, why do you want a mono source on two channels?

The only thing I am not sure of is what does phantom power do when reverse outputting 48v through two channels back to the mic? Not sure at all and I don't have an ohm meter handy to tell me electronically what that would do. Proceed at your own risk if you are using a phantom mic.

Dan
 
Mostly because it's only recording to the left channel. I suppose you could just duplicate that channel in post then drop it on the right, or which-have-you.

Next up, Wireless!
 
There is a good reason to do that and channel offset is the reason. You set one higher and one lower and that way if the higher input channel is overdriven, you still have the lower channel as a safety net.

A lot of my mixes end up as mono anyway so I just center pan mono sources.

Dan
 
Mr

Mr

puredrifting said:
There is a good reason to do that and channel offset is the reason. You set one higher and one lower and that way if the higher input channel is overdriven, you still have the lower channel as a safety net.

A lot of my mixes end up as mono anyway so I just center pan mono sources.

Dan
Click to expand...

XLR Splitter does work although I've not yet tried it with phantom power on - phantom is on/off not per input.

But the limiter and compressor functions (not autogain, which it has as well) have variable settings so I will test to see if I even need the splitter with this.
 
yeehaanow said:
Audio for video I always go with 48k 16bit. Anything higher is overkill for dialog IMO, plus the headaches in the NLE.
Click to expand...

24-bit gives you much better dynamic range and lower noise floor (assuming you have a low noise mic, recording system) that allows more in post etc. While 16-bit recordings can and do sound great, 24-bit is almost always better. A seasoned sound guy persuaded me of this a few years ago and I do everything 24-bit when possible and it really pays off.

Plus, for location sound, 24-bit and high SPL mikes means more overhead for very loud/soft enviros.

As for 96Hhz - 48k, 24-bit may be all you need. 96Hz really does not make an audible difference unless what you are recording is very demanding (say a live jazz band, strings, piano, complex sounds) and you have very good mics plus a high-end mixing system AND the output will be at high quality (blu-ray, digital cinema, IMAX etc.)

PS, If using 96/24 is a pain in your NLE, you're using the wrong NLE
 
So this little badboy has phantom...time to have a closer look at the specs. It could beat (in convenience and "shoulder aching factor") the hell out of lugging around my fostex FR-2...with separate power pack....and Lunatec V3.
To anyone who's got one, what are the pre-amps like on the Zoom?
 
Does the Zoom H4N have an internal clock with date? Does it save the date and time the audio clip was taken to the file on the sd card?
 
ChipG said:
Does the Zoom H4N have an internal clock with date? Does it save the date and time the audio clip was taken to the file on the sd card?
Click to expand...

You can even have it stamp the file names as time and date. This thing is way impressive for a mere $349.00

Dan
 
How do you get it to roll the time, Dan? And how do you get it to stamp it?

That'll help with organizing and possibly syncing as well. Maybe.
 
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