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This is a really wonderful forum which helps me as newcomer really much. Thank your for this!

 

Here is a video I shot with the turned down settings as suggested in this thread on the EOSHD.

Due to inexperience with all the possibilities of the GH3, I set everything on auto except the aperture. But hey that's how I learned the hard -but very fast -way about shutter speed and light frequencies. ;-)

Now I have to master how to install the lapel mic  and the sennheiser correctly. The lapel picked up more non speaker sounds then I hoped for. 

 

Footage : Panasonic Lumix GH3 
Lens      : Panasonic 12-35 mm f 2.8, B&W XS-Pro UV filter
Settings : MOV All-I, 24 p - 50 Mbps, modus A, Contrast -5, Sharpness -5, Color -3 and Noise reduction -4.
Audio     : Sennheiser 400 MKE, Zoom H1 and Rode Lavalier Condenser Lapel Microphone omni-directional.
Editing   : Final Cut Pro X 
Music    : Watercolour - Bill Newsinger

 

 

 

https://vimeo.com/62002382

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Good stuff Blanche.  Here's some audio tips from an audiophile.  B)

 

First off for talking head framing in docu's I prefer uni lavs since usually your subject is always facing a consistent direction and not so much moving their neck around...most likely always to the direction of the interviewer.  So your uni lav pattern will be focused towards the chin whereas the omni lav's pattern is going to pick up more room presence as its intended to.  Of course most real world scenarios in acting or news you can't be restricted to a static neck position which is why it's mainly used.

 

Can I assume the Zoom was strapped onto your subject with the lav, and your Sennheiser connected to the cam?

 

If you plan to do a similar edit again with no talking head cuts then it's to your full advantage to record audio at the closest proximity.  For this sort of docu framing forget about shoe mounting your Sennheiser to the cam.  Instead buy a cheap $20 t-stand for your 400 MKE and position it to the lips of your subject (court room style) as close as possible and strap the Zoom recorder to the stand.  You can now move the mic setup anywhere in the room at full control knowing the frame and avoiding noise as much as possible.  Voice over narration should be a priority if you don't plan on showing any talking heads.  Also, notice your close ups for machinery.  Do the exact same thing with the t-stand setup pointing the 400 MKE to the machine just barely out of frame.  Approach it the way a foley artist attacks challenges.

 

Good luck Blanche.  Looking forward to your next docu.   If you need advice I'm more than happy to give.  

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Good stuff Blanche.  Here's some audio tips from an audiophile.  B)

 If you need advice I'm more than happy to give.  

 

Hi Leang, Thank you very much for your tips! I love to have more audio advice from you.

 

- I used a lapel microphone the  Rode Lavalier Condenser omni-directional. Also because I learned that you'll get the best natural quotes if you're subject is bizzy doing stuff while answering the questions. I recently spent quiet a lot of money on this mic - now you're saying it was wrong to go for the omnidirectional one? Shoot! ;-(

 

- The zoom H1 was in the pocket of her trouser and the lapel mic was wired to it. My poor womans transmitter set. I made sure it peaked in the range -12 to -6 but after I put it in her trouser I obviously couldn't monitor it again. I wonder if the mic pointed down and that this was the reason for picking up so many side noises. Is there another way I can avoid this besides letting it point towards a face? 

 

- The senheiser mke 400 was a joke because it was most of the time out - I forgot to monitor it with my headphones. So I have to get used to it more. Most of the sound recording was done by the Zoom and Lapel mic.

 

 

- MMM I didn't miss a voice over in this one - did you?

 

Thanxs again for all your help - people like you let me learn everything really fast! 

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Now you're saying it was wrong to go for the omnidirectional one? Shoot! ;-(

 

Not at all.  Your current mic kit is nice.  The more mics you have the better, plus you're rocking Sennheiser and Rode.  Don't get confused, again omni lavs are more beneficial and practical when actors are engaged or when heads are engaged conversing in different directions since the consistency pickup is safe.  I only mentioned uni because if it's a stiff talking head it would pick up less noise than the current omni.  Don't worry about it so much.  In fact forget I said for now.  It's more important you practice the t-stand setup I mentioned and use your boom mic if you do not plan to show talking heads in your storyboard.

 

- MMM I didn't miss a voice over in this one - did you?

 

?

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Thank you Leang!

If I would buy any unidirectional mic - do you have a suggestion? 

 

 

You also have a nice framing aesthetic for machinery.  Maybe down the line get a Macro for your GH3 on sewing detail.  think about that!   ;)

 

Definitely was already thinking about that - I love macro's from plants stones and now also machinery - any lens suggestion?

 

 

 

?

 

I thought you were missing voice overs in this piece but I disagree on that with you

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I'd go for the Shure MX150 second hand on ebay, and second option the AT Pro70 brand new.  They sound great and amazing for the price!  For M43 Macro's it's best to consult with others.  I'm still confused about us mentioning ''voice overs.''  The reason why I mentioned ''voice over'' was because we don't see any talking heads in the video.  Therefore if your initial storyboarding didn't have shots for talking heads then it would have been better to approach it as a table top voice over which would sound really pro.  Speaking of which, maybe one last investment for your mic kit would be a medium to large diaphragm condenser mic and an audio interface.  You can buy a cheap $10 desktop mic stand and sit across from your subject on a table and record the interview.  It's all cool stuff to learn and master.

 

However, in the meantime the original t-stand setup I mentioned will do justice.  try it and you'll hear a difference.   B)

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