Need Pro Advice!

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    • #41236
      AvatarAnonymous
      Inactive

      I have been tapped to record a live concert performance for a local band.

      I have a Sony VX-2100 and a smaller MiniDV cam that I plan to use to capture the video (using one stationary and the other as a "B Roll" or roaming camera). I know, I should have at least TWO cameras comparable to the VX-2100, but our budget will probably not allow us to purchase another before this event takes place. I have used these two in tandem before and have gotten very good results.

      My question is – what is the best way to capture the audio? I assume that I will be given access to a soundboard output, but I also want to capture ambient sound I can use in the editing process.

      I do not yet have any external audio equipment, so I have no idea where to begin. I may have a very modest budget to work with, so any cost-effective solutions would be welcome as well. However, at this point, any advice would be GREATLY appreciated. In other words, how would you PROS handle this situation?

      Thanks.

    • #175409
      AvatarAnonymous
      Inactive

      Hank,

      Thank you.

      This project is actually being done completely for free on my end with the hope that it will make a good sample for my portfolio. My business is relatively new and has primarily focused on photo montages and tape to DVD conversions up to now. I volunteered my services for this, but it went from a sample to something the band wants to release on DVD – that created the dilemma. Don’t worry, I do get a cut of sales. πŸ˜‰

      I know a lot about editing footage into a good program. But as you can see, I have no experience when it comes to the audio production end. All of my shoots up to now have been with the camcorder microphone that produced fairly good results. A lot rides on this one though.

      For the lav mkes dropped in front of the speakers, obviously they would have to be run back to the main cam. What’s the best way? Should I go with XLR adapters and cables or is there a more cost-effective way?

    • #175410
      AvatarAnonymous
      Inactive

      compusolver Wrote:

      Should I go with XLR adapters and cables or is there a more cost-effective way?

      You mean cheaper than cables and adapter? (about $50 worth of gear) Well, when I was a kid, we used to make "walkie-talkies" out of two tomato cans and some waxed kite string. Not sure how you’d get it to hook to your camcorder’s mini plug though..

      I probably should have been a bit clearer. πŸ™‚

      I meant-

      Should I invest in XLR adapters and XLR cable to run from the mikes to the camera or would standard cables suffice?

      – but you answered that too. πŸ™‚

    • #175411
      AvatarAnonymous
      Inactive

      Okay, so I suppose it’s possible that I am totally and completely screwed…….

      I’m not sure of the length of the run since I have never been to the club where the first shoot takes place. I may be left to use a camcorder for the soundboard mix (as you said). However, I’ll have to weigh the difference in cost between balanced XLR cables for the length of the run or a wireless dual lav system (which probably will not produce an acceptble quality for music) as a backup.

      What do you think of using the main stationary cam (placed near the soundboard) to capture the board sound and another cam to capture sound only from lav mics placed in front of the speakers? Could that alleviate additional XLR cables or does it bring up a whole new set of problems? I’d rather bring the issue up here rather than find out 150 miles from home and a half-hour before they take the stage.

      Yep……I’m screwed. :'(

    • #175412
      AvatarAnonymous
      Inactive

      compusolver Wrote:

      You’ll get better quality music from the soundboard feed, but you can’t go straight to your camera unless your camera has a mic/line switch. Do not try feeding straight from soundboard to mic input. You will not get good quality and I would suspect you might even damage something.

      Hey, if nothing else, that has worked in my favor. I DO have a mic/line switch on my main cam. (!)

    • #175413
      AvatarAnonymous
      Inactive

      Now Hank..
      I’m beginning to like you.
      You are reminding me of my grandpa’
      who used to walk 5 miles…to school….in snow up to his armpits…uphill..both ways…
      javascript:emoticon(‘}:-)’)

    • #175414
      AvatarAnonymous
      Inactive

      Thanks again, Hank.

      Without much time to prepare, the first show is the one that is 150 miles away – that one will only be a single cam (because of time constraints) and will air on a local NBC affiliate to promote the main show that is a week later. That is the one is set for DVD release. THIS is why I am panicked – to say the least. πŸ˜‰

      Depending on whether their setup is stereo or mono, I can place an audio-only cam near the soundboard with the output directly in the cam (or perhaps even to a small mixer for any slight adjustments between the two. I’ll have the stationary video cam plugged into two lavs placed in front of the speakers with XLR cable between the mics and cam. My B cam can pick up the ambient sound well enough to throw into the mix.

      If that setup seems adequate in theory and in real world, it will be left to my editing (which I trust much more than my audio experience), to bring it all together. I may just be able to pull this off.

      Next question –

      Any particular entry-level brand / model of mics that would work best and be reasonable in cost? Anyone willing to give up a source for good prices on new or used equipment such as this? Of course, there is B&H Photo, but are there any lesser-known?

      Rey

    • #175415
      AvatarAnonymous
      Inactive

      After a weekend of researching the Net, I think I have narrowed the field down to what I need.

      Question, though – Is anyone here familiar the Beachtek DXA-4 audio adapter? I am wondering, aside from its portability and compact design, how it functions any differently from a small mixer to control two XLR mics that would feed into the cam? I am just trying to weigh the costs. the Beachekt retails for around $179, while a decent portable mixer can be had from around $60.

    • #175416
      AvatarAnonymous
      Inactive

      Actually, the mixer I was looking at was a Tapco/Mackie MIX 60, seen here:

      http://www.bhphotovideo.com/bnh/controller/home?O=Search&A=details&Q=&sku=426132&is=REG&addedTroughType=search

      Not an on-camera type, but does it do anything different? Since I am trying to save money, would this not serve the same purpose as the BeachTek DXA-4 when running two XLR mic cables into it and adapting the output to 1/8" miniplug?

    • #175417
      AvatarAnonymous
      Inactive

      All of my post editing is digital (Vegas 7 & Sound Forge). I was thinking of this as a portable solution. Sitting on the floor under the stationary cam is just fine with me. I just don’t think I can justify the BeachTek at $180, when I can get this bulkier version for $60. If it does the same thing, it’s a no-brainer for me.

      In the future, when using wireless mics on a moving camera. the BeachTek may be a worthy purchase for me, but is there any reason to need it for this shoot or others that will be similar?

    • #175418
      AvatarAnonymous
      Inactive

      Okay Hank, since you brought it up………..

      Does anyone know the longest desired length for XLR cable runs? I was hoping to use a balanced 100′ cable for each mike to insure I could get the feed to the back for most situations. Is that going to be too much?

    • #175419
      AvatarAnonymous
      Inactive

      Nevermind. I got all of my answers….elsewhere.

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