It seems the best settings are to set it to 24/96 KHZ, on stereo, and have the R & L level meters are set to not go over 12. It seems that this is the best so far, unless I am wrong.
Best FR2-LE settings.
- Thread starter harmonica44
- Start date
My God, do you ever test things out for yourself or are you totally dependent on others to figure things out for you? Get off your butt. You have to be the laziest filmmaker that ever existed.
The others have been patient, but you are getting annoying. Do something or be quiet. I wish you the best. I really do.
The debate over 24/48 and 24/96 has been hotly debated ever since those high sample rates became available to Production Sound Mixers. Most prefer 24/48, but editors and rerecording mixers have started asking for 24/96.
There is no "set it and forget it" setting. Volume, channel gain and limiter settings will vary from mic to mic, from location to location, from scene to scene, from actor to actor. In fact, settings can change line by line and even word by word; that's what a production sound mixer does; constantly making adjustments for optimum sound. The same applies to the boom-op; s/he constantly adjusts the aim of the boomed mic for optimum sound pick-up. Is every scene lit exactly the same?
You have to get it into your head that there is no magic wand that makes everything exactly the way you want it, you have to work at it. That is why so many micro-budget projects fail to live up to their potential, there are just too damned many details for even four or five people to keep organized, each one takes time and effort to address.
There is no "set it and forget it" setting. Volume, channel gain and limiter settings will vary from mic to mic, from location to location, from scene to scene, from actor to actor. In fact, settings can change line by line and even word by word; that's what a production sound mixer does; constantly making adjustments for optimum sound. The same applies to the boom-op; s/he constantly adjusts the aim of the boomed mic for optimum sound pick-up. Is every scene lit exactly the same?
You have to get it into your head that there is no magic wand that makes everything exactly the way you want it, you have to work at it. That is why so many micro-budget projects fail to live up to their potential, there are just too damned many details for even four or five people to keep organized, each one takes time and effort to address.
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Uh-uh not me I snapped a while back, and Cracker before me.
Join the club. I also agree with you 100%.Well yeah, not every scene is going to be the same, when it comes to sound. However when it comes to cameras there are recommendations not to go over certain exposure levels, and things like that. I thought a sound recorder might work the same way, but I guess not. So I shouldn't go over 12 though right, cause that's when the green turns yellow. Unless their a certain sounds you want to cross over, for an effect.
I just love how this one isn't even a question.
There's going to be a new thread every time harmonica44 wishes to make a statement...
There's going to be a new thread every time harmonica44 wishes to make a statement...
Uh-uh not me I snapped a while back, and Cracker before me.
I apologize for that contained outburst and have formed a plan to insure it never happens again.
I've tested it out and recorded a lot with it, but how do I know if the sound I recorded is good? Even if it sounds good to me, I don't know if that's industry standard good. Plus practice doesn't tell me if I should be recording in 96 khz all the time.
Are you going to be editing the audio at 24/96? If yes it could be a good idea, but not entirely necessary. If you're going to be editing the audio at 24/48, then why expend the extra data space?
That's true. So 24/48 seems to be good for recording normal dialogue scenes, and 24/96 is what you want if you want to record something lout, sheering, and echoey, like a dramatic gunshot or something. Is that right? So I should only use 96 something like that is required?
48kHz vs 96kHz has nothing to do with the volume of the sounds being recorded. All that it means is that one is sampled twice as often per second, so is a higher resolution. The reason we audio post folks are leaning towards 96kHz is that there are generally less aliasing and fewer artifacts when doing extreme processing, such noise reduction.
oh okay. Thanks. So recording in 96 is just extra space I won't need when it comes to normal dialogue scenes then...
No, that's not what Alcove said at all. "The reason we audio post folks are leaning towards 96kHz is that there are generally less aliasing and fewer artifacts when doing extreme processing, such noise reduction."
Okay thanks. Well after a lot of practice I've learned that the best settings usually are set the mic trims 3 quarters all the way up, and to set the big level knob, 2 thirds up. But that's just an average estimator for average volume of dialogue. If an actor raises his or her voice all of a sudden and screams does this mean I have to adjust both mic trim knobs, just before the scream to adjust to the volume of the scream? I tried, but it's hard to adjust two knobs that fast in time, and not sure what do in a shot that requires going from normal speaking volume to scream.