Audio Tethering

[JobScholtze]

When doing live tv, 99% i fly wireless. In the case i have to fly triax, i use my own triax cable. Its so thin, and so flexibel, ( like audiocable ) i just tape it togheter with my zooncable, and it isnt bothering me at all.

 

Shooting other stuff that needs audio, i have a wireless audio transmitter from sennheiser in my gear box. Its a great little set, and you can get one on ebay for 499 or so. Most of the time when audioguys havent the equipment and i offer them this solution, the all want to use it. The are happy, i am happy, problem solved.

 

 

Job

[Lawrence Karman]

I mostly work in the feature/episodic world. Years ago I showed up for my first live TV job and was presented with Triax cable. It sucked. Surprisingly the following week I was invited back. I did some research and bought some Triax adapters and flew with a thin BNC. Used them maybe twice since then, but now I'm prepared. Got another gig and was presented with thick fiber optic cable. It sucked. Bought some flexible fiber optic adapters. Used them once, but now I'm prepared. I made some ridiculously thin XLR audio cable jumpers. Used them once recently on a commercial with the RED. Like Charles I ask ahead of time how sound will be recorded and encourage them to run double system sound. For budget or logistic reasons that is not always possible. I always encourage them to go wireless, but if that can't happen then I will whip out the thin audio cable. Stomping your feet and playing the Steadicam artist card and refusing to compromise will usually result in you not being asked back. Invest in the right equipment, be prepared.

[Alec Jarnagin SOC]

Great points by Charles and Doc. Thin line indeed - if we don't point out that there are better ways of doing it, they will not even know their error, but indeed throwing a sissy fit doesn't work either. I made the huge mistake of forgetting to ask about audio (like I said most of the crew was from an HD show I work on regularly so they are used to doing it right - but in this case everyone was stepping up a rung so it makes sense a few things were overlooked). In the end, I made my bed so I dealt with it. I made them aware of our collective oversight - maybe even more than necessary because they are good friends of mine.

 

I too bought Triax to BNC adapters years ago and have used them only two or three times. Never bought the fiber because I'm not in the live TV world and the aforementioned adapters are just not used. I tend to agree with Charles that in the narrative world, there is no excuse for audio directly to the camera, but then again, the RED seems to have thrown so many rules out the window.....

[Alfeo Dixon SOC]

images of Alfredo laughing at me in my head.

 

ALFREDO!!! You had a creamy white sauce laughing in your head.... you've seen me.... i'm not cream nor white! <_<

[Alec Jarnagin SOC]

"ALFREDO!!! "

 

 

DOH!!!!!

 

So sorry mate - I have a dear friend named Alfredo (Vittorio Storaro's operator, so at least you're in good company!) so mental slip.

[Alfeo Dixon SOC]

in the narrative world, there is no excuse for audio directly to the camera, but then again, the RED seems to have thrown so many rules out the window.....

 

The main reason is because the RED along with the other P2 style cameras such as the HPX3000, create individual clips for each take made. This creates a much longer process for post production to now sync and to possible transfer audio into a digital media. Now with this in mind, the editor has been communicating to the DP and camera department about workflow along with the recordist since the beginning of prep. Atleast working out the workflow is a priority of the producers. Anyone interrupting this proven workflow will get heavy resistance. IF you are able to get into the loop of workflow architecture during prep, your chances of placing a scratch track on camera via wireless are better.

 

Emre had a good solution to the clip base issue with the consumer HVX. This would put most at ease unless your editor feels its too much to deal with. This is unfortunately a situation where editors are controlling more of what happens on set. I had a job where the editor said no to the RED because he was not going to FCP and wanted to stay on Avid. He plainly stated get a different format... I was the DP and we got another editor. :P

 

On the other hand, an upcoming project on the RED and another Avid editor, is ok with a wireless scratch track solution for steadicam. But again, this is the DP and editor in talks working out the workflow architecture during prep.

 

Just as Charles stated, its best to do it as soon as possible. My dialouge started from a previous show with the last recordist. Now without a great solution for us to send an HD signal to the village, then we have to got wired for them to see a "comfortable" and clear image during shooting.

 

Just as we all have the spaghetti BNC's for sending the video signal just sharing the knowledge for the ones frustrated by wiring up to collect the check.

[Charles Papert]

I shot my first project on the RED last winter, a short series of webisodes. I took home the backup drive over the holidays and starting playing around with RED Alert/REDCINE as well as bringing clips in FCP just to learn the process and educate myself. There was no editor scheduled to start until after the holidays so I ended up syncing the sound, which had been recorded onto a Deva and the clips copied to the hard drive at the end of the shoot. It took very little research to learn the "official" way to create sync subclips in FCP and I did the whole lot.

 

My feeling was, if I can do it, it's not that big a deal and it gave me more ammo to refute the issue when it comes up on set.

[Lawrence Karman]

Sorry Charles, but WTF is up with that ugly ass new avatar?

[Charles Papert]

Mostly it's a placeholder as I am retiring my "running guy" logo and haven't come up with a replacement.

 

That said, I'm not really sure why on a forum that requires real names we feel obliged to represent ourselves with cartoon characters and line drawings, perhaps it's just in the name of tradition or following message board status quo. Those that do prefer photos tend to use either wide ones of them in their rigs which at 64x64k are usually hard to make out, or closeups of eyeballs etc. I'd actually like to be able to see who I'm talking to, especially the guys I haven't met. Maybe it would even inspire some people to write more in their own voice than their "internet personality", for better or worse.

 

In any event, I'm fairly thick-skinned but I will admit that I'm a tad gobsmacked (pun intended) at having a friend and colleague describe a picture of my face as ugly-ass...! I mean, I'm no Brad Pitt but the villagers rarely if ever come running up to my house with torches and pitchforks?

[Ed Moore]

In any event, I'm fairly thick-skinned but I will admit that I'm a tad gobsmacked (pun intended) at having a friend and colleague describe a picture of my face as ugly-ass...! I mean, I'm no Brad Pitt but the villagers rarely if ever come running up to my house with torches and pitchforks?

 

If it's any consolation, my first thought was "didn't realise Jon Favreau operated steadicam"...

[Charles Papert]

Used to get that all the time post-"Swingers".

 

p.s. Ed, as a fellow head-shot practitioner you too are leaving yourself wide open! Circle the wagons!

[David Allen Grove]

So THAT's what you look like Charles! All this time I thought you were just a camera w/gimble and Legs! ;)

 

Better keep on topic too: for 80 days I was tethered to audio cable. 2 channels and return PLUS a BNC cable. Director had to have a completely interference free signal. fun fun fun. (this was back in the old days 1998 ish)

Edited September 2, 2008 by David Allen Grove SOC

[Rich Cottrell]

another idea...

 

I have always offered my steadicam kit as a one price rental for all the gear, but more and more I am thinking about offering an "a'la cart" menu...

 

Does anyone think we could actually charge different rates for operating with or without wires off the camera?

 

On a small show --like I would get called for--- I would say hell no, but I am wondering on the big features and episodic tv when you have your agent negotiating the rate, is this something that could be negotiated?

 

The angle is not necessarily trying to get more cash, but to make "the cost of the wire" closer to the cost of going wireless.

 

just and idea that is bouncing in my head,

rich

[Lawrence Karman]

Mostly it's a placeholder as I am retiring my "running guy" logo and haven't come up with a replacement.

 

That said, I'm not really sure why on a forum that requires real names we feel obliged to represent ourselves with cartoon characters and line drawings, perhaps it's just in the name of tradition or following message board status quo. Those that do prefer photos tend to use either wide ones of them in their rigs which at 64x64k are usually hard to make out, or closeups of eyeballs etc. I'd actually like to be able to see who I'm talking to, especially the guys I haven't met. Maybe it would even inspire some people to write more in their own voice than their "internet personality", for better or worse.

 

In any event, I'm fairly thick-skinned but I will admit that I'm a tad gobsmacked (pun intended) at having a friend and colleague describe a picture of my face as ugly-ass...! I mean, I'm no Brad Pitt but the villagers rarely if ever come running up to my house with torches and pitchforks?

 

 

Oh Charles you know i didn't mean anything by that. I was just so shocked at not seeing what is by far the best avatar in the history of this board and Steadicam in general. And a hell of a T-shirt, I may add. Let me also say that if I were gay and you were too, I'd do you in a second. Back off girls, he's mine.

[JobScholtze]

Let me also say that if I were gay and you were too, I'd do you in a second. Back off girls, he's mine.

 

Thats gonna be a interesting avatar :P