Forum Replies Created
alright, here’s the most helpful site i’ve seen about shotguns:
it has some comparisons between shotgun mics, and i found it pretty helpful.
Right now I own a Rode NTG-2, which works great for its price. XLR connections w/ phantom power or AA batt.
If I had more money, however, it would of been a bit more wise to invest in the Sennheiser ME66 . I’ve gotten to use it, and its a really solid, very clear microphone, with very little noise.
Remember, unlike video cameras which get outdated pretty quickly, microphones will last for a long time, so make sure you invest in it wisely!
Good question, I’ve lit for greenscreens before, but not with floors.
Honestly, I not sure if there’s much you can do in production. Perhaps you could try aiming the lights in an angle that bounces the green as much as possible away from your subject.
In post, try to use “spillsuppression”as well as you can too, to help alleviate the spill. Good luck!
I have the HV20, and I like at a lot so far (at least for its price).
I don’t really do gigs, but narratives, but the HV20 is a pretty capableconsumercamcorder.
It has a hot shoe, microphone input, headphone output, graphic audio level bar, manual audio gain, shutter speed/iris priority, and a little LED light on the front. In my opinion the LED is pretty useless.
The camera can also record in 24p, but embeds it into a 60i stream. When you’re recording in 24p, though, it works pretty well in low light.
In my opinion, its a really good deal for its money, but the A1, if price weren’t a point, is a little better.
I’m not the authority about this, but I know a little bit about the difference between the little cable adapter and the expensive $100+ adapters:
XLR cables, by design are balanced, protecting them from interference from electrical fields. 1/8 inch cables (like the mic input on your camera) are not balanced (i believe).
Thats why we never see people using boom mikes with a thin little 1/8 inch cable. For a short distance though, 1/8 inch cables fit the bill.
When you use the cheap cable adapter with an XLR cable, the whole system becomes unbalanced (in my understanding. please correct me if i’m wrong!), so there’s higher risk of interference.
With the little expensive “box” adapters, it keeps the system balanced, and helps to prevent interference.
I’ve been using the cheap adapter with a RODE ntg2 and it works great, but i have to careful around power cables and etc. When you plug in the charger to the camera, the adapter picks up noise.
hope that made sense and was a somewhat correctexplanation:)
Okay, I’m pretty sure now that the Sennheiser I used was the ME-66, a Rode boom pole, and a Rode “dead cat” windscreen.
I don’t have anything bad to say about it, there is little noise, and like the above it’s a very popular and well known microphone.
Today I justreceivedthe Rode NTG-2 microphone, and got a chance to test it out. Using a “AA” battery, there is no switch to turn the mic on or off, but instead you’re supposed to remove it. Otherwise, the build seems fine.
Quality wise, its definitely not as great as the ME-66. There is some hum if you turn the gain up, but its pretty reasonable for its price. I was also using an XLR to 1/8 inch adapter, which is unbalanced, though. The sound quality is okay. A little dryer than I would like, but still good.
I don’t regret buying it, and it’s probably the best for its price range. I can’t deny though, that unlike cameras, microphones become outdated much slower, and it would be wiser to start off with a better one (the ME-66).
Thanks a lot. I found out that it will work with Final Cut Express, the way you both described it.
looks good. there looks like there’s some dust on your GG though.
what is the design of your adapter?
Here’s a link with a comparison of all the above mikes you listed.
The Rode NTG-2 they tested is the same as the NTG-1, except it can work on phantom power or a little AA or AAA battery (not sure).
My choice, from the mikes you listed, would be the Sennheiser. I think I’m going to go with the NTG2 though, because its cheaper, and sounds almost as good.
Our church sells DVDs of services. It’s also uploaded onto the internet for free.
Sorry, I’m not sure about Gen-lock specifics. All I really understand is the concept.
Wow, thats a pretty impressive animation for a one man show.
No problem. If its not on Videomaker’s forum, Dvxuser.com is a huge forum and you can find a lot of great information there.
In fact, I’m in the same market as you, and I’m probably going to buy a rode NTG-2 mike.
Also, don’t think you have to buy a boom pole start at $100. Here’s a DIY for much cheaper (at the cost that it won’t look very professional):
I’d also love to hear from someone who has experience doing something like this. The article (that Spencer mentioned) had some valuable info but didn’t have the depth I’m looking for.
Yeah, Videomaker almost goes there, but I agree would be great with more depth and advanced articles.
I forgot to mention, any live switcher that can work with HD will cost a lot, so doing the cuts in post would probably be the most practical way to go.
To answer some of your original questions:
Filming Church Service
I want to start shooting our church service on Sunday. I am a newbie! I purchased 2 Canon XHA1’s, and I have a couple of nice quality tripods. That’s about it!
I had planned on getting an audio feed from the sound board, pre fader, so that whatever the sound guy is doing, or not doing, will not affect me. I am uncertain on a few key points, (to say the least) and I would appreciate ALL the advice I can get.
First, should I record sound on both cameras?
Yes, you should. Recording sound might help to sync your videos in post.
How can I set the two camera’s up so that I can monitor what both are doing?
For this, you’ll want a live feed. One way you can do this is to use component video cables linked to monitors. As a warning, don’t your S-Video. Component is probably the cheapest and more reliable way of sending video over a fair distance. My church uses BNC cables (which are more expensive, but better) and has their wires go under the cement to the video booth.
Do I just shoot two independent cassetes, and then merge them together in editing?
Should I have bought the HGA1’s, and then would they have synched together? Would that have made it easier, or higher quality. Would it justify the nearly DOUBLE price?
About syncing, you probably can sync them together, but I’m not sure. Does it make it easier: yes. Does it make it higher quality: not really. Does it justify nearly double the price: in my opinion, nope.
I’m not the "expert" on this topic, but there’s my two cents.
Here’s some basic advice.
My church has a three camera set-up. We get audio from the sound guy, and mix the video live, via a video switcher.We use the video switcher to cut between angles. The output of the video switcher is projected, and also recorded.
The recording we save and post online.
By using a video switcher, we don’t have to spend time in post syncing the footage and cutting it.
Here’s an article about video for worship:
check out this thread:
There’s some good links there with comparisons.[/url]
I’m not exactly sure of the name, but you’ll probably want to use female to female component connecters. Using a few of those to connect your cables should work.