Location Sound Bag For Filming Interviews | Timecode | Zoom F6 | Tentacle Sync
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- เผยแพร่เมื่อ 12 ต.ค. 2024
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Camera Paddles - camerapaddles....
Bag is Orca OR-28 👍 Great looking kit!
Ive been building out my audio kit with the F6. So I will be stealing some of this!
Good stuff as usual Joel! Keep up the great work.
Nice setup. I find a coiled XLR is nice when I'm running sound myself.
*Hey Joel, what is the name of that folding round portable stool you are using as a seat. I'm looking for a small footprint folding stool I can use on location. I don't see it listed in your gear list (??)*
Can you run the timecode with one camera at 30fps and the other at 60fps?
Or in order for timecode to work in post they all have to be at the same frame rate?
First boo boo
Haha thanks bro!
Your setup is awesome. 32-bit float audio is a gimmick. It just so happens that the best converters probably support the new sales gimmick, but trust me, I'm a computer engineer who makes sound cards, it literally does nothing. 24-bit audio can handle up to 140db dynamic range, and you just can't use all that dynamic range for anything that isn't a science experiment. All they are doing with 32-bit float is converting the 24-bit integer to a 32-bit float, and it's literally just a gimmick because your computer can do that instantly.
I’ve been hearing that from a lot of audio technicians. Does that hold true for acquisition as well? I know I’ve tried capturing audio with different recorders and once the recording has clipped, that’s it. I find with 32 bit float I’m able to avoid the clipping. That’s the only thing that I’ve been concerned about when considering 32 bit float.
@@videopromike You notice the dynamic range a lot more on the OUTPUTS than the inputs. Not all 32-bit ESS converters are as good as the best ESS converters. You need to set the gain so that you capture the dynamic range of the audio input, and the ADC needs to be clean enough that when you amplify the digital signal it isn't just noise.. With a good ADC, you don't need to need to capture all of the 120db dynamic range, for an ADC you will not notice the difference between 110db or 120db because you are not recording anything that loud. For the DAC there is a noticeable jump in quality with the new ESS DAC chips but the older MOTU audio interfaces are still very good and you won't tell the difference on the ADC of an 828MK3 Hybrid compared to a MOTU M6.
32-bit float is not a "gimmick". Sure, for the audio professional, it's probably not necessary because part of their job is literally to manage audio levels. But, for the solo content creator, it's amazing because we no longer have to worry about gain staging.
@@RandumbTech No. 24-bits can capture 140db dynamic range. Are you really trying to tell me that people are playing and recording 140db audio? GIVE ME A BREAK! No one does that. The converters are only converting an integer to float, which is a gimmick, it literally does nothing to help you out. Your PC will convert the int to float in just a few clock cycles, so you can ignore that CPU overhead. The only way this would make sense is if the sound card was doing some audio DSP like reverb where it had 32-bitr float internal process, but then at that time you would want 64-bit internal processing so you would want a 64-bit float converter, which clearly is even more of a gimmick.
@@CaleMcCollough Not looking to pick a fight, so let's agree to disagree. All I know is when I record in 32-bit float, I get amazing results, regardless of whether it's quiet or loud sounds. I can pull the quiet sounds up without increasing the noise floor and can pull the loud sounds down even though they appear to be clipped. When I record in 24-bit, I can only set the gain to accommodate one or the other. Since I can't actively adjust the gain, the 32-bit float is magic. Hope this helps clarify why it works so well for my use case.