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#16 |
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Join Date: Jan 2007
Location: Ottawa, Ontario, Canada
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If you're recording live band performances then I'd say definitely go the H4 route. You'll be able to use the H4 to record off the house mix and use the HV20 audio to sync video to and to get more ambient sound in the mix.
Others will have more experience than me (it's my expensive hobby ;-) w.r.t. synchronizing external audio with video, but my guess would be that it's more of an issue with spoken dialogue than musical performances. Music is (mostly) one long audio take (the audio is your timeline) with a selection of camera feeds to choose from, whereas dialogue tends to get cut'n'pasted a lot to tighten things up.
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#17 | |
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Join Date: Jun 2005
Location: Niagara, Ontario
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Quote:
It does work properly when the camera is unplugged and running of battery, so if i need to, i guess i can use the extention cable and then run camera of battery. but this certainly will become inconvenient at times, thats why i thought there might be a way to ground the camera or power adaptor somehow to get rid of this noise. |
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#18 | |
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Join Date: Jan 2007
Location: Ottawa, Ontario, Canada
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Quote:
Re. the 35mm motor noise you're trying to get away from. If it's high enough in pitch you might be able to get away with mounting the Rode on a hotshoe extender and making an acoustic shield out of some heavy (weave) fabric to put between the mic and the camera. Simple experiment: Wrap an old shirt (thick material and/or multiple wraps) around a coat-hanger and see what effect sliding it between the 35mm and the mic has. If that doesn't work too well, try putting a piece of cardboard in the coat-hanger and wrap the shirt around that. You don't want air to be able to "blow" through, but it needs to be floppy enough that it won't vibrate like a drum skin. The stiff cardboard should help deflect the motor sound away, but you probably don't want to use cardboard in the final solution because you'll reflect other sounds into the mic from other angles. Pick a non-porous but floppy material to soak up the high-freq sound. ...It's sort of like building a pop shield, but for a different purpose.
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#19 | |
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Join Date: Oct 2003
Location: Los Angeles, CA
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Quote:
"With my camcorder the audio needs to be stretched by 100.049% to stay in sync. This is a very simple solution with the right software, but it caused some frustration until I worked out the ratio which seems to be very consistent with all of the recordings I have made so far."
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#20 |
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Join Date: Jan 2007
Location: Ottawa, Ontario, Canada
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Makes sense. Bare in mind that if you record across a broad range of temperatures outdoors (summer versus winter) you'll probably see absolute and relative drift in those timing numbers. Simple semiconductor physics. ;-)
Roughly translated, unless all your equipment happens to be synchronized to a single time-base, you'll need to calculate and apply the ratios yourself (unless your NLE can do it for you): 1. Find a start reference peak/clap at the start of your audio in the camera footage: T(AV.start) 2. Find an end reference peak/clap close to the end (it's the cumulative timing error you're most worried about) of your audio in the camera footage: T(AV.end) 3. Find the same start reference peak/clap at the start of your externally recorded audio: T(audio.start) 4. Find the same end reference peak/clap at the end of your externally recorded audio: T(audio.end) 5. Pick a reference time-base; externally recorded audio for a more music-oriented performance. 6. Calculate the ratio to multiply the AV track by: = (T(audio.end)-T(audio.start))/(T(AV.end)-T(AV.start)) 7. Repeat for all camera sources, be they HV20, cellphone, etc. Sanity check: - if the AV finishes sooner than the audio, you need to multiply by a ratio greater than 1.0 to stretch the AV track. Numerator should be greater than the denominator. - if the AV finishes after the audio, you need to multiply by a ratio smaller than 1.0 to compress the AV track. Numerator should be smaller than the denominator.
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#21 |
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Join Date: Jan 2007
Location: Ottawa, Ontario, Canada
Posts: 94
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Well, whether it's a lucky coincidence or a direct result of these sorts of discussions, the latest e-mailed B&H newsletter links to a couple of relevant items on their website:
- Guide to Alternative Microphones for use on a Boompole - Guide to Understanding B&H ENG kits
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