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from mixer to camera

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  • from mixer to camera

    I was wondering what i would need to record the audio to my camera , I am planning on getting a camera if i can do this simply and was wanting to get the audio clearer than i do now with my phone cam. .. my mixer (Behringer SX2442FX) has a tape in and tape out on it , I was wondering if i could come out from there and go into the camera , would it do anythnig to the camera as far as mess it up or do i need to do something different in order to do this safely?

  • #2
    Wouldn't you have to remix for the camera because the room mix isn't a good mix to put into the camera because it's mixed to the room and not the camera?
    <div class="signaturecontainer"><a href="http://www.facebook.com/pages/-THE-ONSLAUGHT-/76303472256" target="_blank"><br />
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    • #3
      You need a better mixer with the ability to dial in a matrix mix, then record the output from the matrix to your camera. Just make sure you can record from an external source on your new camera.
      <div class="signaturecontainer">Phil Clark<br />
      <br />
      FOH/Monitor Mixer - Sound On Site</div>

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      • #4
        It also really depends on the camera, but I agree that board -> camera probably isn't going to help you out much w/o a mix for camera.

        Also, it is possible that whatever consumer camera that you have will take a line input, but not likely... so you'd probably have to go through some electronic gymnastics just to get the signal into it. But who knows... there are a lot of used canon xl cameras going for super cheap (less than a grand) that have XLR inputs....

        You'll probably find cleaner audio simply from switching to a camera from you your cell .
        <div class="signaturecontainer">My Business: <a href="http://lubbock-media.com" target="_blank">Media Production in the Texas Hill Country</a></div>

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        • #5
          You can create a board mix using an extra post-fader aux. That way, the board mix will track the faders but you can still send different (but tracking) levels to the camers.

          Now for the gottchas... if you are going to be some distance away from the stage you may have issues with sync between the video action and the audio (not too big of a deal unless you zoon in), you will have to convert the audio to mic level if your camera won't take line level, and you may have connector issues to deal with as well. You will also lose all of the audience noise, applause, etc. Combining a camera mic and board feed will not work well unless you sync the 2 audio tracks in post, and if the camera is moving around that will be a chore and a half.

          I would recommend using the camera mic only, it will geive you the best reference audio and better represent the activity/action at the gig.

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          • #6
            Do you have the ability to record individual tracks to a hard drive? If so, this will allow you to mix in your DAW of choice. Then you can mix your audio and video with any number of SW packages.
            <div class="signaturecontainer">Good judgment comes from experience, and a lot of that comes from bad judgment. -Will Rogers<br><br><a href="http://facebook.com/SpitShineRocks" target="_blank">http://facebook.com/SpitShineRocks</a></div>

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            • #7
              For a low budget approach might check out the Zoom HD camera's that have the mini condenser mics with a limiter so the mics don't overload and cause distorted audio. If your looking for video demo for future job referencing then might try hiring out. Also might check the video forum to.

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              • #8
                Do you have the ability to record individual tracks to a hard drive? If so, this will allow you to mix in your DAW of choice. Then you can mix your audio and video with any number of SW packages.

                This song/video was shot one evening here in Vero Beach, Fl. Audio had a total of 15 tracks stored in my computer. I could have done up to 26 tracks, but didn't need the extras. The mix was done in the computer at my home using the same gear as in the picture. My gear from that night can be seen in the picture at the top of the page. Enjoy listening and feel free to leave a comment.
                http://www.richardkingmedia.com/?page_id=47
                <div class="signaturecontainer">My new webpage: <a href="http://www.richardkingmedia.com/" target="_blank">http://www.richardkingmedia.com/</a> Take a look and let me know what you think.</div>

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                • #10
                  For a low budget approach might check out the Zoom HD camera's that have the mini condenser mics with a limiter so the mics don't overload and cause distorted audio. If your looking for video demo for future job referencing then might try hiring out. Also might check the video forum to.

                  I have one of those, Zoom Q3HD, and it's currently for sale.

                  Comment


                  • #11
                    You can create a board mix using an extra post-fader aux. That way, the board mix will track the faders but you can still send different (but tracking) levels to the camers.

                    Now for the gottchas... if you are going to be some distance away from the stage you may have issues with sync between the video action and the audio (not too big of a deal unless you zoon in), you will have to convert the audio to mic level if your camera won't take line level, and you may have connector issues to deal with as well. You will also lose all of the audience noise, applause, etc. Combining a camera mic and board feed will not work well unless you sync the 2 audio tracks in post, and if the camera is moving around that will be a chore and a half.

                    I would recommend using the camera mic only, it will geive you the best reference audio and better represent the activity/action at the gig.


                    You know aged I haven't even thought of that. thats a great point. so what you are saying is to just use the camera mic instead of going through the board? Thanks man.

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                    • #12
                      thanks guys for all your inputs, i am considering doing just what ya'll suggested and just buy a camera and not even hook it up to the board ,. i just need something simple to set up and i think that that would be the right way to go. thanks again.

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                      • #13
                        You know aged I haven't even thought of that. thats a great point. so what you are saying is to just use the camera mic instead of going through the board? Thanks man.


                        The reason I mentioned this is because I got thrown under the bus for a video feed I provided to folks who should have known better. The video company blamed me for the sync problem where the audio lead the video by about 120mSec. Caused me to not receive the contract for the following year's show, I didn't know there was a problem until we were excluded as a sound supplier. The event coordinator and video contractor blamed ME personally for ruining thousands of dollars worth of video footage because the sound was not synced. The event coordinator was a total dick, she had a mouth that would have made a sailor cringe and threatened to kick my ass out in the alley. When I pointed out that my audio SIGNAL traveled at the speed of light, the audio coming off the stage and PA traveled at the speed of sound and the image traveled at the speed of light, of course there would be a difference in arrival between the video image and the camers MIC signal and THAT was what was out of sync (camera/room mic) was about 100' back. I then, in front of the video company, told her that if she AND her wonderful video company understood the basics, that wouldn't have happened and that they were the ones who were responsable for the problem which should have been corrected in post, and that they should go after the vidio folks for ruining the footage not the audio guy who had nothing to do with the process other than providing an audio signal that was in perfect sync with time = zero. Of course I was told to go **************** myself and that it was everybody's falut but hers, the owner of the video company **************** his pants because he suddenly realized what the problem was and of course the event coordinator wanted to fight anybody she could out in the alley.

                        Now, rule number 1 is don't piss off the venue's TD, rule number 1 is also don't accuse and threaten the venue TD, and rule number 1 is that you better be right when you do either of the first two things. The company they hired to replace me does their best but the event coordinator brings in her own special sound guy who is supposed to run circles around the rest of us. So the other sound co. owner and nyself take a seat behind the sound board and record the show, take some video of the guy thrashing about failing in the worst possible way. The show goes over by an hour and loadout goes over by another hour, we have a substantial security deposit. Remember the thing about not pissing off the venue TD? That 2 hours of additional time cost them more than the original sound contract because of work rules overtime and break rates. Normally we would work with them on something like this except for the constant belittling and she hit double-whammy overtime for our whole crew. Her attitude cost her over a thousand dollars. Also, she and her group has been banned from the venue... and the show sold ~50 tickets out of a GP of 2000 seats. If we didn't have a security deposit, she would have stiffed us.

                        Guess who had the last laugh on this one?

                        Comment


                        • #14
                          The reason I mentioned this is because I got thrown under the bus for a video feed I provided to folks who should have known better. The video company blamed me for the sync problem where the audio lead the video by about 120mSec. Caused me to not receive the contract for the following year's show, I didn't know there was a problem until we were excluded as a sound supplier. The event coordinator and video contractor blamed ME personally for ruining thousands of dollars worth of video footage because the sound was not synced. The event coordinator was a total dick, she had a mouth that would have made a sailor cringe and threatened to kick my ass out in the alley. When I pointed out that my audio SIGNAL traveled at the speed of light, the audio coming off the stage and PA traveled at the speed of sound and the image traveled at the speed of light, of course there would be a difference in arrival between the video image and the camers MIC signal and THAT was what was out of sync (camera/room mic) was about 100' back. I then, in front of the video company, told her that if she AND her wonderful video company understood the basics, that wouldn't have happened and that they were the ones who were responsable for the problem which should have been corrected in post, and that they should go after the vidio folks for ruining the footage not the audio guy who had nothing to do with the process other than providing an audio signal that was in perfect sync with time = zero. Of course I was told to go **************** myself and that it was everybody's falut but hers, the owner of the video company **************** his pants because he suddenly realized what the problem was and of course the event coordinator wanted to fight anybody she could out in the alley.

                          Now, rule number 1 is don't piss off the venue's TD, rule number 1 is also don't accuse and threaten the venue TD, and rule number 1 is that you better be right when you do either of the first two things. The company they hired to replace me does their best but the event coordinator brings in her own special sound guy who is supposed to run circles around the rest of us. So the other sound co. owner and nyself take a seat behind the sound board and record the show, take some video of the guy thrashing about failing in the worst possible way. The show goes over by an hour and loadout goes over by another hour, we have a substantial security deposit. Remember the thing about not pissing off the venue TD? That 2 hours of additional time cost them more than the original sound contract because of work rules overtime and break rates. Normally we would work with them on something like this except for the constant belittling and she hit double-whammy overtime for our whole crew. Her attitude cost her over a thousand dollars. Also, she and her group has been banned from the venue... and the show sold ~50 tickets out of a GP of 2000 seats. If we didn't have a security deposit, she would have stiffed us.

                          Guess who had the last laugh on this one?


                          LOL. I gotchya there. I hope i never have that problem. I dont see how they could blame it on the sound guys when a sound guys job is just supposed to supply the sound to the Audience and not worry about the video, that don't make a bit of sense to me at all. I am so glad thou that you told me that. I didnt really think of that.

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                          • #15
                            LOL. I gotchya there. I hope i never have that problem. I dont see how they could blame it on the sound guys when a sound guys job is just supposed to supply the sound to the Audience and not worry about the video, that don't make a bit of sense to me at all. I am so glad thou that you told me that. I didnt really think of that.


                            The point is that it made sense to them because they didn't understand the basics and were willing to blame anybody other than themselves. Of course it doesn't make sense from a technical perspective.

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