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I can't answer for him but for me when I tried omni on two people... you get bleed and even worse you get hard sound reflection. They dialog was probably on the left rat but who knows.

Pro Mosm? 🤔

That’s a great idea. I wish I’d thought of that

It’s a Gitzo 3-section carbon fibre boom pole. They’ve discontinued them now which is a damn shame because it’s my favourite boom pole in the world. It’s unbelievably light, perfect for close range work

Thanks man!!

All I mean is re-doing them so they’re back to how they were at the start of the day. This means taking all the tape off, wiping any/all the sweat off that might have built up, coiling the mic cable up all neat, and taking the batteries out. Basically just making sure they’re all good to go for another shoot ^_^

I actually should do a video on that…great idea!

@@thesoundguy6502 That would super helpful. Again, Thanks for the awesome videos

Thanks mate!! Really appreciate it!

Great idea! I’d like these videos to appeal to everyone, not just sound recordists!

No I didn’t, but that’s been a very common question. I try not to let phasing become an issue for me on set, I always have my headphones set to LR Stereo with the boom panned to the left ear and all the radio mics panned to the right. This way, if there ARE any phasing issues, it becomes harder for me to detect them. It’s a post production sound problem if phasing is a major problem between the radio mics and the boom, but I think they’ll often just use only one audio source and delete the other, which negates the phasing issue all together. Does that answer your question?

@@thesoundguy6502 that’s good. I usually monitor in mono. Sometimes I’ll flip the switch or I’ll pull back on the boom.

That works too! I’ll try my best to match the distance of the radio mic from the sound source with the distance of the boom, but that doesn’t always work out

Thanks so much! I really hope it helped! Great question - at the end of the day, I will always always always try to get the production to use my field recorder audio rather than the audio that goes to the camera. Cameras are built for video, and their sound recording capabilities are very much an afterthought, which means the quality is never guaranteed. This is especially true for DSLRs or RED cameras or Blackmagics. Like you said, the audio I run into the camera is purely for syncing or for playback so the director/producer/clients can watch the content with ‘decent’ audio. But in the edit, I’ll always try and tell them to sync my field recording. I don’t have a lot of control over that process though, it’s up to the discretion of the post team (editors, producers etc). I’m not brave enough to do it, but I know a lot of soundies who refuse to give the camera an audio link, which forces the production to use their recorded sound. But sometimes there’s simply no choice - some productions won’t even take my audio, they know that the only sound they’re going to use is the sound that’s recorded to the camera, so the pressure is on me to make sure that sound is a good as I can make it. Hence, I’ll always try and use a cable because I know that’s the best quality I’m ever going to get. But when the camera is handheld and doing run-and-gun shooting, I’ll have to use wireless links, despite the numerous issues that come with it. If that’s ever the case (which is almost always 😭) I’ve invested in the best possible gear (and most expensive) to get the best audio I can to the camera. Sorry for the long reply! 😅 Does that answer your question?

@@thesoundguy6502 Yes it does! Thanks so much for the awesome reply!! Really interesting to hear about sound guys not wanting to give audio in to the camera. Makes sense though. If they camera audio sounds bad, they just blame the sound guy. Yeah, I've always heard built in camera pre-amps are not great, but like you said for quick turn around sometimes you just need to go straight into the camera. So are you splitting the signal somewhere? Outputting from your field recorder to the camera I assume? A while back I bought a Beachtek DXA-Micro Pro+ for my GH5 so I can control the audio levels going into camera. But am looking into a decent field recorder if I start getting more corporate interview type work. Or those small pack field recorders so I don't have to deal with wireless. I always hear that wireless comes with it's own set of problems and unless you really shell out for the expensive stuff, it's hit or miss.

That’s a hell of a question with a long complicated answer haha It depends on what the shoot is. If I know the audio going to the camera is just for playback and review, then I’ll just send a basic mixdown of all the audio. If it’s a shoot where I know they’re going to use the camera audio and not my recorder audio, then I’ll try my best to split the mics between the two audio channels on the camera. I’m actually doing a reality show right now where they’ve specifically requested one character on the the Left channel and the other character on the Right channel. If you have some separation like this, it means that the post production team can still work with two isolated channels of audio, even if it IS being recorded to the camera only. For DSLRs like the GH5, I’ve built a custom cable that allows me to input a stereo signal (2 different channels - a L and R) into the camera. The new RED cameras are the same, they’ve only got a 3.5mm input for audio, but 2 channels to record on. My custom cable lets me send two discreet channels of sound, usually the boom on one track and the radio mic(s) on the other. In terms of your first recorder, I wouldn’t suggest getting one until you’re absolutely ready. If you’re a solo operator, trying to do sound as well as worrying about the camera and lighting and how the edit is going to turn out etc is like trying to spread butter over too much bread! It’s a lot to think about, so if you can just cable your mic straight into the camera then that’s the way to go. You’re not filming anything that’ll be going to Hollywood (at least, I don’t think you are 😅). The sound quality doesn’t have to be absolutely mint. Camera audio might have its little flaws, but it isn’t enough to compromise the recording entirely. So I wouldn’t stress about that! If you want to get an audio recorder anyway, I suggest googling: Zoom H5 Zoom F8 Sound Devices Mix-Pre 3 These are all solid entry level choices that come at a range of different prices. The F8 and the Mix Pre 3 all have outputs on them too so you can feed straight into your camera if you want 😊

Haha I might have gone a little too far with that rant :P

Thanks mate! I always get that mixed up, it’s supposed to be that way so the knuckle tightens rather than loosens right?

It’s a mistake you only ever make once 😂

I find it garners a lot of respect with camera dept as well. I know a decent chunk of sound guys that expect to steal a C-stand / sandbag off of camera/G+E top of day and although its not USSUALLY a big deal sometimes it can tick off the bunch. I get a fair chunk of props and build good repoir when they see i suply my own

Mate! I feel your pain. I did a three day interview with a guy who was twitchy as hell. I ended up having to set up a second boom mic JUST to record his lines when he leant forwards. I’m glad you’ve been vindicated!

That’s classic! I find it funny how soundies learn to listen to things so many others just take for granted. I had a similar situation where the shoot had picked out an incredible location to shoot: a running path right by the ocean in a beautiful green park right by the city. Stunning. But when I arrived I simply pointed up to the bridge above us that handled the busiest intersection of traffic in the CBD. The production simply didn’t hear it. It wasn’t their fault - It was noisy as hell, but people are geared to filter those noises out. It takes a trained ear to call it out. Sorry about the delay in getting this one out…it’s been a mix of being busy with work and personal life that’s just got in the way!

The Blackmagic camera we were filming on didn’t have an option for inputting timecode. Normally that would have been my first choice. Also, the production company’s standard operating procedure was to just cut from the camera audio; they didn’t have the capabilities or knowledge to sync with timecode, so camera links were the preferred syncing method in this case

@@thesoundguy6502 Thanks for answering, did not know the Ursa has no timecode.

Thanks mate!

Thanks buddy! I’ve got a bunch of ideas, so there’ll be more videos like this coming soon!

hey, what are some of your other favorite location sound youtube channels?

How do you have that setup? I have to manually switch radio mics on and off between takes, if there’s a way to automate it that would be invaluable

@@thesoundguy6502 my 833 allows me to automute outputs depending on certain conditions (such as playback / recording / stopped). Am fairly certain your 633 has a similar feature? But I don't like this automute feature, as too often you have someone freaking out thinking their IFB has died! 🙄😅🤦 That's why it is better to manage it with your faders.

Are they used to cover a lot of sporting events? I had a quick look at their website, it looks very specialised

@@thesoundguy6502 ruclips.net/video/jA86Z1TINlA/видео.html when I first heard about them I was told it was the go to wireless system for NBA players here in America. I haven’t really looked into them.

They are quite pricey lol

All gear is quite pricey at the moment 😫

Thanks so much! Hopefully there’s some interesting things in there 😅