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Setting Up Your Camera's Audio Mix | Scratch Audio, Camera Hops, and More!
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- čas přidán 9. 02. 2020
- Scratch audio? Timecode? Camera hops? How does it all work?! This episode of Sound 101 features Andrew and Kevin going through everything you need to set up audio to send to your camera. Whether you want to use Comteks to set up scratch audio that you can then use to sync by waveform or timecode, or BOTH, this episode will help you get great audio on any set.
Sound mixers have a lot of options when it comes to sending audio to camera. Syncing audio in post can also be tricky sometimes. By following these steps, you will be sure to get the best audio possible and not have any audio out of sync. Using camera hops on set can be confusing but it doesn't need to be.
Let us know in the comments below if you have any other questions about wireless audio on set or how to send audio from your mixer to the camera!
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Summary:
Deity Microphones produces weekly digital web content to help filmmakers and sound mixers grow in their education. Deity Microphones shares this free web series in hopes that the next generation of filmmakers grows in their video production quality and changes the world.
Deity Microphones produces free educational web content to help filmmakers, vloggers, sound mixers and sound designers grow as creatives and take their production quality (be it independent, TV, or studio) to the next level. Deity Microphones believes that budget should never be a constraint to creativity.
Do you prefer using scratch audio or timecode?
Timecode.
I’m not that professional so I rather use scratch audio and synchronise in post.. with modern editing software e.g. FCPX it’s just a matter of a click..
I believe it depends on the number of cameras. One Camera = GET IT IN CAMERA. More than one = Timecode. Why bother with Post if there is NO NEED? But I'm an old guy that believes in capturing imagery, sound and performance "on set" and not in a dark ADR or green screen studio. ........ "Cut."
I've been using scratch.
I find high level productions will pretty much always use timecode, especially if they're shooting on Arri or expensive cameras, as these may have bad preamps. They often only want scratch audio if they want to hear sound with playback throughout the day.
Quick turn around/ corporate style shoots often want an audio hop to camera because they want as little hassle as possible. I always hope they will still sync it with my separate system audio but I'm sure a lot of them probably just use the camera hop. The way Andrew does it (boom on the left, lavs on the right) will give them isolation at the camera end, so they are probably less likely to sync up your audio. Kevins way of doing it may mean there could be some phase going on between microphones in the mono mix, so you best pray that they will only use this as scratch/ sync. I've seen cases where the editor doesn't focus on the sound and will just roll with this (they may not even notice the phasing), then technically they will ruin all your hard work and make you look/ sound bad at your job. So in my experience I'd say Andrews way is preferable for mid to low budget shoots, unless you can speak to the editor in person. You could always send timecode as well just so they have all options. If you don't have a stereo receiver, another option I've done is to send lavs to one camera and boom to the other if it's a two camera shoot.
Sorry that turned into a long comment! Great videos as always guys!
Nice run-through on camera hops and timecode! Thanks!
Nice learning stuff here! And again, love your guest with the best first name ever. 😀
the banter between sound and camera department 😂
For a low cost Comtek system you might want to check out the WMS02 wireless digital in ear monitor audio system. Less than $90 from China on Ebay for a transmitter/receiver pair and additional receivers are about $40. They work in the 2.4GHz range and have around 40 different frequency channels. They sound good and work well at reasonable distances but not through walls. I paired mine with $40 Sennheiser HD 100 on ear headphones. This system provides a lot of bang for the buck for a starter Comtek system.
this is the exact video i needed, thank you!
Where i work, we prefer audio over timecode, because that's act as a backup as well
Always top practical and precise ! Thank you so much :)
Another benefit of a scratch audio from your recorder to your camera is more exact audio alignments. Sound travels at about 1 ms per foot distance. If your camera is 40 feet from the sound source (talent) you get a 40 ms time offset. By having a recorder scratch track eliminates the offset when aligning waveforms. 40 ms might not sound like much, but with live music it becomes noticeable over time. Something is off, the beat is not quite in sync with the musicians.
An awesome video as per usual your content is always super engaging, fun, interesting & insightful. 😁 👌
Cheers gents! 🍻
Awesome video. Thank you.
So its 2020 at the time of the video made by a company that makes wireless audio products yet we see 1989 Comtek technology being demonstrated - mind blown. Those Comteks are poorly shielded from the type of RF that cameras are transmitting these days so they may not be ideal as a camera hop, ymmv. Not to mention (because you didn't) the very long antenna for that system and how fragile it may be in a bag set up. I'd also just mention the utility of sending the Main Mix (in mono), which should also contain the audible slate mic of the recorder, and is great for (voice slating obviously) notes to the editor and/or the possibility to send tone to the camera. For events, red carpets, OTF interviews or man-on-the-street ENG type stuff always keep a mic on the camera if possible when shooting sync sound.
Great video thank you so much
Awesome content, so much value thank you Andrew great job
How soon before we see timecode and 32-bit float in your recorders?
If those were in the HD-TX, I'd buy it in a second (even at twice the price).
When you have multiple audio sources (i.e. boom, lavs, etc) how do you fade (or not fade) between them all in post production to get the best sounding mix?
What do I need from Deity for a ch1/ch2 output from my field mixer to wireless hop to my camera with a stereo mini-jack input on Canon C200? Or alternatively to the XLR inputs on the camera. Was thinking BP-TRX and a Duo-RX? Can you buy this as a kit or buy the Duo by itself?
Thanks guys😉
I recently purchased a V-Mic D3, Im liking it, so far. I just bought the D-XLR to go with it, thinking I'd be able to use the V-Mic D3 with phantom power
(that's how the description made it sound any way) which I learned is not the case. My question is, am I going to get better audio quality recording into something like an H6 using an XLR or will I get the same level of audio going into an H1n with a regular TRRS/TRS cable?
Thanks.
Hey Sebastian, the D-XLR converts 48v to 3v to trigger the D3 to turn on. Going straight into the XLR port using a passive cable won't wake the D3.
You will get a much cleaner signal going into the XLR port of your H6 than the TRS on your H1n.
@@DeityMicrophones thanks for the feedback! I'm really looking forward to using this set up on some projects I've got coming up in the future, also really excited to review it in my other channel.
Hey guys, great videos as always! I actually have the same Comtek system and the F8 and they are amazing! Which cable was that on the Comtek receiver though? Also where can I buy one? Unless you did this one already, I would love to see a video on how to solder some SMA antennas to a G3/G4 system.
Google It.
good one.
trimecode had me in stiches
Andrew and words are not the best of friends.
-Steve
where can i buy the ta3 to 2.5 cable
Hello Guys, I’m looking for a stereo transmitter, what brand do you use?
Thanks for your answer
We use ours...Deity Connect. Our wireless transmitter is stereo.
One Request & One Question: Request: Could you do a Step By Step instructional video setting up wireless transmitters and receivers on set. From load in to load out. Scanning RF frequencies, solving RF interference and most importantly proper antenna placement. THERE ARE FAR TOO MANY "misleading" videos on CZcams and I'd love for some bright, young, talented and most of all - EXPERIENCED Location Sound Recordist to set "the record" straight. Question: I've heard IFBs should be on an entirely separate Bank or on a completely separate Frequency Range; is that true? I've never had issues, but ...... again - some CZcams videos (not Deity's) are VERY misleading. @deitymicrophones "I Before E except after C?"
Our wireless microphones don't need you to scan though :-)
@@DeityMicrophones - Gotcha. I'll ask Sennheiser. :)
Hi Deity. Completely different question. Have you worked with the NTG-3 and the Tascam DR60 II. My audio is scratching a bit and I got a specialist to analyze the NTG and he said that it looks like when he is using smaller recorders the mic is not getting full 48 volt, but it does when he is using a mixer. That is why the audio is scratching when using with my Tascam. Do you have any fixes to this? If I need a new mic, will I avoid this with one of your mics instead? I haven’t seen the problem before 1-2 years after buying the mic, so I thought it was a bug in the mic.
We've never had any issues with our mics and the DR60ii
Do you think the specialist is wrong about the current? Is there anything I can do to fix this? I like my mic, but my next one will definitely be a Deity. I think your brand and mics looks and sound amazing from all the CZcams videos I have seen 👍💪
Nice
If you name your child "Kevin" he's going to grow up to be a cam op, it's true