Comments on: The Live Event Filmmaker’s Survival Guide – Part 2 https://daredreamer.com/the-live-event-filmmakers-survival-guide-part-2/ The Sites & Sounds of Creative Expression Wed, 05 Apr 2017 03:21:39 +0000 hourly 1 https://wordpress.org/?v=6.4.1 By: Ron Dawson https://daredreamer.com/the-live-event-filmmakers-survival-guide-part-2/#comment-2091 Wed, 08 Feb 2012 11:42:10 +0000 http://daredreamermag.com/?p=7001#comment-2091 In reply to John Seydler.

Thanks for the great tip John. I actually do have a direct box. But it’s been so long since I’ve used it, I forgot I had one. That might have solved the initial problem. I may need to add it to my equipment checklist again. 🙂

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By: John Seydler https://daredreamer.com/the-live-event-filmmakers-survival-guide-part-2/#comment-2090 Wed, 08 Feb 2012 11:13:52 +0000 http://daredreamermag.com/?p=7001#comment-2090 What you experienced certainly is a very typical situation. I’ve been shooting video for nearly 20 years and that’s exactly what I always prepare for on every live event I shoot.

One of the best things I’ve added to my kit is the Radial PROD2 stereo direct box for about $150.00. It’s a two channel splitter that can be inserted into the signal path, between the audio console and the power amps and gives you a mic level tap to send to your camera or separate mixer. Obviously, if there is another output available from the audio console you could use the direct line to send to one camera’s line input and the mic level tap to your other camera or audio recording device.

I’m fortunate: I started out as a musician/audio guy. Over the years I’ve accumulated an entire arsenal of audio patch cables and adapters, (many of which I built from scratch myself.) I even have my own press box which has come in handy on a number of occasions.

Here’s one thing to consider, especially in very small meeting rooms where amplification really isn’t necessary and usually hasn’t been provided. I’ve found that people are psychologically more predisposed to speaking into your microphone if they think it’s needed for a sound system. In these instances, with permission and enough time I’ve set up my own small sound system to draw the main speaker closer to the mic stand or lectern. I’ve also set up a Q. & A. mic on a stand, at a convenient place for the audience, usually near the front of the room but not too close to the lectern. It doesn’t hurt to announce or have the M.C. announce that no questions will be taken unless they’re asked at the Q. & A. mic. These are just some small touches that can make your recordings that much better.

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By: Kee Sitt https://daredreamer.com/the-live-event-filmmakers-survival-guide-part-2/#comment-2089 Tue, 07 Feb 2012 05:16:23 +0000 http://daredreamermag.com/?p=7001#comment-2089 I feeeelllll u !!! 😛

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By: Ron Dawson https://daredreamer.com/the-live-event-filmmakers-survival-guide-part-2/#comment-2088 Sun, 05 Feb 2012 03:38:44 +0000 http://daredreamermag.com/?p=7001#comment-2088 In reply to IEBA.

You’re totally right about keeping my first set up. I tend to be the kind who likes to cooperate so I pulled from the audio guy’s board in favor of the press box. The upside was that I was close enough to the press box to monitor sound. But, next time I’m just as likely to keep my first set up.

Thanks for sharing.

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By: IEBA https://daredreamer.com/the-live-event-filmmakers-survival-guide-part-2/#comment-2087 Sun, 05 Feb 2012 02:44:20 +0000 http://daredreamermag.com/?p=7001#comment-2087 Having done things like this many times, I find the alternative saves a lot of running around:

A cube wireless audio transmitter to a receiver on the camera means you can be sure you’ve got good audio, as opposed to having to run back & forth to check, or leave the recorder in place and hope. I have been on several events where half-way through, they change mics, have a different presenter, etc, and THAT mic isn’t on the board feed going to me or the press box. Or the cable feeding the box is bad. Or some jerk comes in after me and yanks mine out. I can only affect change if I hear it live.

(as a side note, this is why you see so many mics on the podium when the local news covers a corporate event. – NOBODY wants to rely on someone else’s gear. Everyone wants their own mic on that podium.)

Would it have been possible to just leave your gear plugged into the audio board? I mean, if the audio guy set up a press box and you still had your feed, there’s no harm, no foul, and it holds Rule #1 true: if it ain’t broke, don’t fix it.

And, as Matt says, the Zoom can toggle between mic & line so knowing your gear in and out- especially for live events- is critical. In this case, it would have saved some running around and the change in ambient / board audio part way through the event.

Great idea about using all four sources. I always seek out as much as possible at a live event because you can always ditch it later, but if you need it later, there’s usually no way to get it.

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By: Ron Dawson https://daredreamer.com/the-live-event-filmmakers-survival-guide-part-2/#comment-2086 Sun, 05 Feb 2012 00:42:46 +0000 http://daredreamermag.com/?p=7001#comment-2086 In reply to Ross Sales.

Ha. Thanks Ross. Who knows. Maybe one day. 🙂

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By: Ross Sales https://daredreamer.com/the-live-event-filmmakers-survival-guide-part-2/#comment-2085 Sun, 05 Feb 2012 00:25:25 +0000 http://daredreamermag.com/?p=7001#comment-2085 Great advice! I’m glad it all worked out ok. Wow! What an epic and tense situation! I could feel the suspense building up from Part 1. Your hectic day would make a great short film. Ron Dawson starring in “Silence, Smiley, Fudge”.

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By: Kris Simmons https://daredreamer.com/the-live-event-filmmakers-survival-guide-part-2/#comment-2084 Sat, 04 Feb 2012 03:32:07 +0000 http://daredreamermag.com/?p=7001#comment-2084 Great post Ron! Reminds me of a lot of my own close calls! Amazing what you learn when your fanny is to the fire!! LOL

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By: Ron Dawson https://daredreamer.com/the-live-event-filmmakers-survival-guide-part-2/#comment-2083 Fri, 03 Feb 2012 21:43:37 +0000 http://daredreamermag.com/?p=7001#comment-2083 In reply to Matt Townley.

Thanks for the input Matt. I wouldn’t be surprised if you are spot on!

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By: Matt Townley https://daredreamer.com/the-live-event-filmmakers-survival-guide-part-2/#comment-2082 Fri, 03 Feb 2012 21:29:19 +0000 http://daredreamermag.com/?p=7001#comment-2082 Ron,

I don’t shoot much video anymore, but made my living as a live sound engineer for several years right out of college. The problem you described could have been lots of things, but one thing that comes to mind is that the 1/4″ out from the press box was likely line level, which if you Zoom was expecting mic-level audio, it would be way distorted since line-level is a much hotter signal. I think the H4n can toggle between mic and line level regardless of which physical input you are using, which may have allowed you to keep the original setup. I could be way wrong, but just a thought I figured it was worth sharing.

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