Matthew Buick Posted October 22, 2006 Share Posted October 22, 2006 Does anyone know how good these mics are, as I need some dheap mics for recording voices for my live-action movies and Brickfilms. Link to comment Share on other sites More sharing options...
Premium Member Alessandro Machi Posted October 22, 2006 Premium Member Share Posted October 22, 2006 Does anyone know how good these mics are, as I need some dheap mics for recording voices for my live-action movies and Brickfilms. Microphones are only part of the equation. Generally speaking, any XLR formated microphone will be your best bet because it means your entire XLR audio recording system should be immune to sound contaminating hums or hisses. Naming the other parts of your recording system will help determine what microphone you should be using. Link to comment Share on other sites More sharing options...
Matthew Buick Posted October 22, 2006 Author Share Posted October 22, 2006 Well, I suppose for live-action I'll be strapping a tape recorder to my tripod, in the case of my Brickfilms it'll just link up to a PC. Link to comment Share on other sites More sharing options...
Fernando Morales Posted October 22, 2006 Share Posted October 22, 2006 Hey there Get a mixer, a 4 xlr channels and 4 aux channels. They are not expensive. I've done some monkey business myself with those cheap mics in the '80s and early '90 when down here we didn't have a miserable sm58. It's nice to have a neumann u87, don't let not having it to be a major problem. I tape my "ambulance reality" with a non sync camera (bolex h8 or canon 814 AZe) and a Sony 333 walkman that I modified with and external condenser mic. Of course, I use chrome tape cassettes. Have fun! Link to comment Share on other sites More sharing options...
Premium Member Alessandro Machi Posted October 22, 2006 Premium Member Share Posted October 22, 2006 Well, I suppose for live-action I'll be strapping a tape recorder to my tripod, in the case of my Brickfilms it'll just link up to a PC. One thing to avoid is what I would call "double drift". Your audio recorder is non-crystal and so is your camera. Eliminate one of those two from "drifting" and you will make syncing up the footage four times easier. Since the camera is what it is, make sure your audio recording format is anything but a non-crystal synced audio cassette tape. Link to comment Share on other sites More sharing options...
Matthew Buick Posted October 23, 2006 Author Share Posted October 23, 2006 One thing to avoid is what I would call "double drift". Your audio recorder is non-crystal and so is your camera. Eliminate one of those two from "drifting" and you will make syncing up the footage four times easier. Since the camera is what it is, make sure your audio recording format is anything but a non-crystal synced audio cassette tape. HOLY PANAFLEX !!!!! Is it really that drastic !?! I'm gonna have to go away and have a big, long think, I haven't allocated much money for sound. Link to comment Share on other sites More sharing options...
Fernando Morales Posted October 23, 2006 Share Posted October 23, 2006 Cheap (or stupid) ideas for non sync: - if you don't have a tail slate, actors can clap their hands - in the worst case, get your boom close to the camera, start shooting to record the motor sound (probably noisy, specially in interiors) and then start with your scene. Hope this helps Link to comment Share on other sites More sharing options...
Douglas Hunter Posted October 23, 2006 Share Posted October 23, 2006 HOLY PANAFLEX !!!!! Is it really that drastic !?! I'm gonna have to go away and have a big, long think, I haven't allocated much money for sound. Tape recorders drif like crazy, but why would you use a tape recorded anyway? These days digital recorders are very inexpensive and rarely drift, since digital recording is more or less constant speed. If you have a non-constant speed camera and non-constant speed sound recording, its likely that you will find elements that you simply can not sync up no matter how hard you try. Link to comment Share on other sites More sharing options...
Sean McHenry Posted October 23, 2006 Share Posted October 23, 2006 2 options for you to consider. One is what I use, an M-Audio Mobile Pre. It is a USB plugable device with Phantom power, XLR and 1/4 TRS inputs as well as headphone monitoring. It basically replaces your laptop or PC audio card when plugged into a USB port. Pretty useful. I bought mine to keep out the digital noise from the inexpensive PC motherboard and the onboard audio card. You can see it here: http://www.m-audio.com/products/en_us/MobilePreUSB-main.html Another option is a USB mic like the Snowball that was recently written about in one of the video magazines. Its a Blue Mic and they are getting a decent reputation. See it here; http://www.bluemic.com/modules.php?op=modl...6eeb090b66c6c86 Not as flexible an option as the M-Audio and something like a Behringer B1 but looks like waht you may be after. Sean McHenry http://www.DeepBlueEdit.com Link to comment Share on other sites More sharing options...
Premium Member Alessandro Machi Posted October 23, 2006 Premium Member Share Posted October 23, 2006 HOLY PANAFLEX !!!!! Is it really that drastic !?! I'm gonna have to go away and have a big, long think, I haven't allocated much money for sound. In theory if you have all the time in the world, you can sync up double drift, but then you may discover that the overediting of the soundtrack then requires you to do these sound overlaps to take out the inevitable sound pops that will emerge. Crystal sound from some type of digital audio recorder is an excellent option. You can also use audio from a camcorder as well, preferably one with an XLR input. Link to comment Share on other sites More sharing options...
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