Video set up questions

Channel One wrote in post #15533942
I respectfully disagree, audio is what makes a video, I don't care how good one can produce a video, if the audio is sub-par, the whole thing crashes.

Wayne

And THAT is a proven fact too! Audio IS more important than video. Its almost a subconscious thing with people though, so they think picture/video quality is more important.

A good example of that would be a show that is running on History Channel right now.... Watch the show Bamazon and you will know what I hate watching that show.

seoul4korea wrote in post #15530667
Ok so i'm back at it again after a long break at Texas, so here is the list so far:

Tascam DR-100mkII On-Camera DSLR Audio Kit
Manfrotto Fluid Video Monopod W/Head
Rode NTG-2 Condenser Shotgun Microphone Kit
Audio-Technica ATR3350 Omnidirectional Condenser Lavalier Microphone
Kinotehnik LCDVF3C 3.2" LCD Viewfinder for Canon DSLR Cameras
Vidpro Varicolor 312-Bulb Video and Photo LED Light Kit

I want to add a wireless or two in their if I can, my budget is +/-200ish from 1500.

Any other Ideas here? thanks again to all that have helped and are helping!

Should I drop the AT for the rode lavi mics instead?

Soooo what does everyone think of this list? Also what would I do about getting a lavi on the main three? Do I need a record on each person? Here is where the main wedding will be... Just to give you an idea:

Should I get three h1s for lavi mics for each person?

seoul4korea wrote in post #15579584
Should I get three h1s for lavi mics for each person?

It depends on your lavi mics. The Zoom H1 doesn't support phantom power. If the lavi mics need a lot of power the H1 won't be useful. The only way is to go wireless but that will put you way out of budget.

Why would you want to run a channel back to the camera? Why not record all audio separately, then sync with the audio from the camera's built in mic? That's what I've done, and it worked great, no syncing issues. I delete the camera audio completely after syncing, of course.

D. Vance wrote in post #15579807
Why would you want to run a channel back to the camera? Why not record all audio separately, then sync with the audio from the camera's built in mic?

That decision would be based upon the distance from the source of the audio to the camera, if the distance is short then yes the on-board microphone can be used, now if there is a considerable distance between the source and the camera, there will be a delay between what is being videoed and the audio being recorded due to the difference between the speed of light and the speed of sound.

For example lets say the camera is 200 hundred feet from the stage (quite possible in a concert setting) then the audio being recorded by the camera is lagging the video by 2/10ths of a second, go a few hundred feet more out and you are up to a half second delay.

It doesn’t seem like much, but having the scratch track even 2/10ths of a second out of sync right out of the box negates its usefulness.

Wayne

Channel One wrote in post #15580540
That decision would be based upon the distance from the source of the audio to the camera, if the distance is short then yes the on-board microphone can be used, now if there is a considerable distance between the source and the camera, there will be a delay between what is being videoed and the audio being recorded due to the difference between the speed of light and the speed of sound.

For example lets say the camera is 200 hundred feet from the stage (quite possible in a concert setting) then the audio being recorded by the camera is lagging the video by 2/10ths of a second, go a few hundred feet more out and you are up to a half second delay.

It doesn’t seem like much, but having the scratch track even 2/10ths of a second out of sync right out of the box negates its usefulness.

Wayne

I thought it might have something to do with that. So far, I've been around 50 feet max, so I've been able to use it.

What's your preferred method of syncing? I put both tracks on headphones and adjust them until there is no difference between the two. I've never been taught how to do it, necessarily; someone on YT kinda got me started by showing me the 'Clap hands, audio spike' method, but I can't exactly stop live music and go "Wait, stop! Gotta clap my hands!"

Much more editing, and I might be able to read lips; I've done four hours of production (real time) and produced a DVD from the first two. Need to get the last two onto DVD.
The first DVD of the (Live) show seemed amazing to me at first, but the more I watched it, the more I realized how shaky it was. The Christmas show is a different story... I took a 'Zero Shake' policy. Some still made it in, due to me editing on a small screen... Any shake is more than I like, but no one but an expert or I would notice.


Yeah, you wouldn't believe what a difference the smallest fractions of time make when syncing!

And I also can't believe how much faster light travels than sound! I guess that's why some people look bright until they start talking!

D. Vance wrote in post #15580604
What's your preferred method of syncing? I put both tracks on headphones and adjust them until there is no difference between the two. I've never been taught how to do it, necessarily; someone on YT kinda got me started by showing me the 'Clap hands, audio spike' method, but I can't exactly stop live music and go "Wait, stop! Gotta clap my hands!"

Watch for and match the peaks, if your NLE allows for it, drop your timeline audio into your audio editor plug-in where you can get a better and more accurate view of the waveform and then match the peaks, once synched, push it back to the NLE as additional audio channels and if that meets the final cut, delete the original tracks and render.

Wayne

What about running the Rode into the Zoom? Rode mic, Zoom recording the Rode?

seoul4korea wrote in post #15569256
Here is where the main wedding will be... Just to give you an idea:

Based upon what I am seeing your challenges will be wind noise and possibly surf sound, as such at the minimum you would want to lav the bride, the groom and the officiator and you want those lavs as close as possible to the mouths of them.

Doing this hard wired would be simple and fault proof, but unless all the parties are willing to be connected and disconnected (not likely) you will need to go wireless.

However, wireless is going to crush your capex budget, so maybe consider renting.

Wayne

D. Vance wrote in post #15580813
What about running the Rode into the Zoom? Rode mic, Zoom recording the Rode?

I don't quite understand the question.

Wayne

Channel One wrote in post #15580841
I don't quite understand the question.

Wayne

The Zoom H4n, which I own, has an input. So what about putting the Rode Mic towards the front (Even up at the pulpit, or wherever they will be married) and running it into the zoom? The Rode would be closer, and would be the main mic, while the Zoom just recorded what the Rode brought in through the input.

Channel One wrote in post #15580835
Based upon what I am seeing your challenges will be wind noise and possibly surf sound, as such at the minimum you would want to lav the bride, the groom and the officiator and you want those lavs as close as possible to the mouths of them.

Doing this hard wired would be simple and fault proof, but unless all the parties are willing to be connected and disconnected (not likely) you will need to go wireless.

However, wireless is going to crush your capex budget, so maybe consider renting.

Wayne

Thanks for the heads up. I'm going to email them about being wired up. If not I do agree I think wireless lavis is going to be the best bet.

D. Vance wrote in post #15580863
The Rode would be closer, and would be the main mic, while the Zoom just recorded what the Rode brought in through the input.

Aiming and wind noise might preclude doing so, laving the three key players is the real solution.

Wayne