3 questions?

[Ollie Walton]

Hi all new to the world of videography

can somebody explained the difference between unlocked and locked audio and what they are used for?

another question is what are good wireless mics, anybody rate the sennheiser ew100?

also what are good talkback systems between two camera men?

thanks guys

Ollie :)

[Richard Crowley]

Need some better context to understand your question about locked/unlocked. Back in the DV days, most consumer camcorders used "unlocked" audio where the sample rate is not phase-locked to the video. But "pro" equipment used slightly more sophisticated methods. However, I have never heard any reports of any problem with "unlocked audio". IMHO, it is a non-issue.

Again IMHO, the Sennheiser EW100 is highly regarded and a solid equipment selection.

Need more information about your needs for crew communication. Number of stations? Fixed location (i.e. wired) or mobile (i.e. wireless), etc.

[Rick Reineke]

Locked/unlocked ... in what context?

Camera ops wireless intercoms:
Low price systems. Eartec
High price: Clearcom and Telex
Don't even consider the cheapo consumer systems unless your fond of trouble and distractions.

[Ollie Walton]

Sorry, it was vague i just read about locked audio and unlocked audio is more modern, just didn't know what the difference was.

as regards to the wireless mics, me and the other camera operator film live performances and would love a talk back system between us wireless, however i dont no which are great makes and quite cost effective

ew100- main purpose is for interviews and some wedding videos

thanks for all you help :)

Ollie

[Philip Howells]

Ollie, I sense you're trying to find a piece of equipment that will do everything. Sadly it doesn't exist. A radio mic on the groom is a good start at a wedding but for interviews a simple hand held or a short gun like the AT897 would avoid all the clipping and unclipping.

If you concentrate on live performances - I assume you mean music(?) - then gear up for that, earn some money and then buy gear for the next area of need. In the meantime, I'd strongly recommend you rent fro reputable shop - they'll help you tremendously with technical advice and you can buy what you find works best for you.

[Ollie Walton]

thanks Phil how do you mic up your weddings?

is there no way of communicating like a walkie talkie between a two camera men?

cheers

[Philip Howells]

Ollie, we use a combination of microphones. Most usual is a Sennheiser miniature mic MKE2 on the groom's lapel, beneath his buttonhole flowers. This is an omni and usually points down to avoid breath pops. The transmitter (a licensed, VHF Audio RMS2000) is ideally in his inside pocket but most rental morning dress is so cheaply tailored, they often have no inside pockets in which case the transmitter is clipped to his belt. This mike captures the bride's words also and under no circumstances would I consider miking up the bride. For most of a church ceremony the Vicar is also close enough and will be projecting his voice so the same mike is good for his voice too.

However, if he's going to deliver his homily (sermon) without the couple standing in front of him, then I'd consider putting a similar mike on him too. If he objects then I'll stick an AT897, short gun on a stand pointing at the spot he says he'll be speaking from. That runs into a second radio channel.

For the readings we mike the lectern with another Sennheiser MKE2 usually clipped to the bible and another channel of radio.

For the choir/organ we usually put a Zoom H4 on a small stand near one of our cameras which are adjacent to the choir.

If there are singers or other musical performers we'll either mike them with a Sennheiser MKE2 or a cardiod pencil AT33a running into a fourth radio channel.

I'm not a fan of using other people's set ups and generally avoid the church's own sound system. Others here evidently have good results so, as in all things, experiment and make up your own mind.

At a civil wedding the procedure's much the same except that we often find we need more stand-mounted microphones because there's less furniture to clip things to. I carry a couple of Manfrotto clamps with generic mike clips which are often life-savers.

In addition to the foregoing each of the Z1s has an AT897 short gun running into every spare sound input - obviously when we need all four radio channels the third camera's AT897 is disconnected. The short guns are mainly for ambient sound for the mix but also for backup. So, our sound mix usually involves eight channels of sync sound plus four channels of backing or replacement music - elsewhere I've described how we usually overdub the organ for the processional and recessional.

We used to have a similar set up at the reception with Sennheiser MKE2s on the groom, FoB, and the Best Man/Men. However, so many men have taken their morning dress jackets off forgetting that the mike is clipped to their lapel and the transmitter to their trousers and testing the cable's elasticity in the process that we've recently abandoned MKE2s at the reception and replaced them with AT851RW boundary mics each running into a radio channel. Tests so far show this to be very efficient, time will tell.

For musical groups at the reception we use the H4 but with two AT4040s large condenser cardiods.

Finally, regarding crew comms. You have to have two considerations, firstly for most of the ceremony and the speeches any speech from the cameramen will be heard by the guests. Remember in the studio most of the camera comms are from the director in the gallery, not on the floor. Almost the only time the cameramen need their mikes is during rehearsals when they need to speak to the gallery. The other question is what channels are you going to use for your radio comms between crew? Licensed ones will be expensive, unlicensed risks interferences or even obliteration. I've always found detailed plans and talk-throughs before the event is the best way; also after a while you get to know what the other camera is taking.

Sorry that's so long but I hope it helps for the future. Don't be overfaced with the gear, we've built ours up over the years, and remember this is only our way - others will have perfectly sound alternatives which serve them well.

[Ollie Walton]

just need talkback between two camera ops for promotional work, when audio is not needed or gigs, when we get a live mix or the recording desk.

but yeah, deffo consider your information you been a great help and thanks :)

what gear are you using camera wise?

[Philip Howells]

Three Z1s, two fig rigs, Manfrotto sticks with fluid heads, custom made radio controlled hothead.