Camera Rig and Audio Bag Setup for Documentary Shoots - Orca 332 + Deity Theos
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- čas přidán 3. 08. 2024
- This is a high-level run through of our Ursa G2 camera build and Orca 332 Audio Bag with a ZoomF8nPro recorder. We use this setup on our documentary style shoots. We run most of our productions with a really small crew (often just two of us) so this gear breakdown shows how we achieve that.
We run all audio into an Orca 332 Audio Bag with the Zoom F8nPro as our main recorder. We use the Deity Theo's Wireless Transmitters and Receivers for our Lavs and the Rode Link XLR wireless kit for the boom pole.
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========== In This Video ==========
00:00 - Introduction to our Camera and Audio Gear
00:45 - Camera Rigging: Ursa Mini Pro G2
05:24 - Learning to focus on Audio
05:56 - Audio on Camera Side
07:00 - Orca 332 Audio Bag
11:40 - Operating and Booming with Bag On
14:01 - Managing Timecode and Redundancy
15:43 - Audio Accessories
17:17 - Summary & Outro
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![Updated gear setup [solo crew doc filmmaking]](http://i.ytimg.com/vi/pzktIyA9osY/mqdefault.jpg)
![Updated gear setup [solo crew doc filmmaking]](/img/tr.png)
17:45 sorry mate I have nothing to add and I learnt a lot. This is CZcams at its best. Thanks for sharing.
Great video. The only improvement I'd suggest is Sennheiser 416's all around. I have rode shotguns which sound great but the Sennheisers have that little bit of reach and clarity the Rode's do not. I lived in Washington DC, LA, and NYC and the only issue with your rig is I'd be worried about RF and terrestrial microwave hits. I understand you are recording in the wireless but by your description you have a ton of data management at the end of the day. I appreciate it, but all that could add an hour when you could be eating, in the pub, or sleeping. But all said, love your thinking and bag set up. Really appreciate the video send for the audio guy. Good teamwork. I've been a career cameraman but now I'm forced to do one man band for 90% of my work. I miss having an audio person. If money were no object, I'd have a simple audio bag built that was mostly hard wired so you could just grab it out of a case if you had RF issues. Washington DC is the worst city Ive ever shot in for RF. London is probably bad too. It's all the spying. Good luck. I'm gonna watch other videos of yours.
Spying? 😆
I reccomend the NTG5 or Deity S-mic3 for a shotgun upgrade. For a boompole any type of right angle xlr one from K-tek will work great. Very lightweight.
Thank you, love the rig and audio setup. Never see the ‘out’ labels on the boxes, so simple, but genius, will definitely do that too!
Loved this video, great looking sound bag! I got a few ideas from watching this. The clamp with phone mount is definitely going on my sound bag right now!
Nice 👍🏼
Suberb information in a very condensed package! I think being organised is half the cake, just gives you that piece of mind to focus on all of the other million things on shoot.
Organisation gives back a lot of headspace for sure. I hate that ‘where did I put that’ feeling on set.
Excellent breakdown, wish I was 50 years younger
Love everything about this mate. Full credit for showing some love to audio!
Audio is key 👌
What a run of super informative videos. Thanks, Joshua! I may have to watch this one a second time. Not sure that I grokked how you're getting scratch audio back to the camera. But what a setup. You guys are so thoughtful and organized with your gear.
Sorry I ran over that without explaining. The ZoomF8npro recorder can output different mixes out of each of the main outputs. Each output is plugged into to a deity transmitter. On the camera side the deity receiver is picking up the signal from the transmitter and is plugged into the microphone input of the camera (line level signal). On the other output from the Zoom you could create another mix that the camera operator is listening to, or the director, or client. They can use the same deity wireless receivers and plug in headphone.
@@JoshuaKirkNZ Seems like a superb setup. I don't think I've seen anything like it on YT. I can only imagine the trial and error required to achieve this amount of redundancy and flexibility.
Such sick setups!! Thank you for all the information you provided,
Fantastic video and set up. Love the work you guys do! Very inspiring 🙌
Thanks Joshua 😎
That is very imppresive!
I’d love to see some of your techniques you use to lav up talent.
There are always new and interesting ways to do it
Great video!
Cheers Mark
Always such good info in your videos! Loving the insight you bring!
Cheers!
Superb... Thanks for sharing
Cheers!
Very cool insights! Massively helpful! 🎉🙏👍
Thanks
This is super informative! Loving your work Josh.
🙌
Nice
👌
I like your tutorial 🎉🎉🎉 very good tutorial bro thanks 🎉🎉🎉
🫡
Amazing Video: I love the out labeling idea. I have a question. Which sound on the camera do you on the F8? Do you monitor only on cam mic or do you monitor the sound that you are feeding to the camera from the F8?
I spotted this and was "BYE FALICIA" to the previous video I was watching.
Hi Joshua, well done! „Boys and their toys…“ I have however a question about the signal routing of the „scratch audio“ from the cam. You mentioned, that the signal isn‘t routed into the cam, as „others“ do, but transmitted to your mixer (I expect a slight delay) and then after mixing be transmitted back( with another slight delay, I assume) and THEN into the camera. But way later you speak about redundancy and mention, that you have a backup of the „scratch audio of the cam mic into the camera“. My first Question would be, if the main workflow is to route all audio signals into the camera (I guess the Ursa has 4 audio channels) and then you can skip the syncing process? Or is everything relying on the DEITY TC1 and you sync the recorded material from the mixer (more channels, more bit?) and the „rest“ is just redundancy? I was just curious, how to treat the transmission delays.
May be a bit to nerdy question… Anyhow greetings from Bremen, Germany.
Does the dji transmission from camera include audio?
We were looking at switching to dji from teradek for several reasons but one is scratch audio from camera to client monitor without needing an extra tx/rx
watched this video twice already...
Thank you!
Love this! Great information.
What country are you in? I’m in the US and our Theos cannot record and transmit.
We are in New Zealand! Yeah that’s a shame - I think it’s because Zaxcom have a patent for that tech.
Out of all the gear youre showing, im keen to know where you got that small adjustable spanner? haha. been looking for one of those for my kit and can only seem to find the annoying worm gear kind (im NZ too so local link if you have one would be great!)
Ah. all good. Found them. Knipex Plier Wrench XS 100. not cheap but it looks like exactly the tool ive been wanting for the kit.
@@neonmammals that’s it. I ordered mine off Amazon and it was much cheaper.
@@JoshuaKirkNZ Yeh, saw that! almost half the price compared to locally! ordered! thanks!😅
Looks like you are building in complexity. How much of this is tech for techs sake?? All that wifi /bluetooth yuck !....I like to keep it simple... as long as the basics are covered it's all in post from then on.
I appreciate this, definitely don’t want tech for tech sake (although sometimes it’s cool 😁). For me the wireless screen is essential for client and directing (I’m coming from the perspective of being a camera op / directing, moving into more audio). We could drop timecode, but having timecode and digital slate saves significant time in post. I don’t think anything is Wifi… All the deity units are UHF.
Only thing I can see being an issue is syncing the audio and timecode units all with the Sidus App on the phone (Bluetooth). If this fails I can always do this manually on the units. What would you change?
@@JoshuaKirkNZ it's too easy to fall into rationalising " I need this and that " and I'm as guilty as anyone. It's a discussion everyone has with them self.