sound output channel from internal recording

[Let Malo Film]

Hi,
I have recently been putting my focus on audio equipment. Cameras are cool but I have come to realize that having a better setup and getting a better understanding of audio, in general, would be really really helpful. First of all, I'm thinking to use a wireless system for the boom mic. (

). I know for my set and my friends' sets, it would make a drastic change. It would be a lot easier to move around and get to places that would be harder with a cable. That's great and I am happy about that solution. However, my problem is that I do not know what is the best option to record. I was dreaming that I could use the Sony k3m on my A7IV to have multiple mics all synced with my A7IV. This would be really nice since as I hit record on my camera, the sound from all the mics is being recorded at the same time.
However, there are two issues that I think I could stumble on.
1. Someone on set can not mix the levels as we are shooting the scene since the mixer is on the top of the camera. The camera operator can't film and mix at the same time.
2. I am worried that the 3 inputs would merge into one channel and I have no clue how to figure out if the A7IV would do that with the K3M. And if it does merge all of them into one and I don't like one of the input mics during the post-prod. Well, I am kind of stuck with it.
I'm wondering if it's possible to record multiple mics on the A7IV while having separate channels. And if not, what's the best option? I know there is the time code thing and the sync thing. But I'm still really confused about them, even after reading an article from no-film school. I know I could use a clap to sync everything but I'm wondering if there is a better option out there than the clap that would make the process faster?
Thanks so much for taking the time to answer my questions!

Ps: We have access to a Canon c200. Which perhaps can output different tracks? Not an expert in audio

 

[AcousticAl]

Hi,
I have recently been putting my focus on audio equipment. Cameras are cool but I have come to realize that having a better setup and getting a better understanding of audio, in general, would be really really helpful. First of all, I'm thinking to use a wireless system for the boom mic. (

).

Wireless for boom is a very complex topic. First of all, you link a video that talks about using dynamic mics. A dynamic mic is absolutely the wrong choice for a boomed mic. You need a condenser, and which one really depends on the location. Shotguns, supercardioids, and hypercardioids are the basics, and you really need at least one of each to cover most every potential situation. Also, use of a condenser generally requires a wireless transmitter that can provide phantom power to the mic. There are exceptions for mics that can run on internal batteries, but those are also often kludge solutions that aren.t the best choices.

The other biggest hurdle is that the boom op needs to have a monitor feed to hear what the boomed microphone hears, which generally requires a second wireless system feeding just the boom back to the boom op.

1. Someone on set can not mix the levels as we are shooting the scene since the mixer is on the top of the camera. The camera operator can't film and mix at the same time.

Correct, which is why sound mixer is a separate crew position from camera. In addition, boom op and utility round out a well-crewed sound department.

2. I am worried that the 3 inputs would merge into one channel and I have no clue how to figure out if the A7IV would do that with the K3M. And if it does merge all of them into one and I don't like one of the input mics during the post-prod. Well, I am kind of stuck with it.
I'm wondering if it's possible to record multiple mics on the A7IV while having separate channels. And if not, what's the best option? I know there is the time code thing and the sync thing. But I'm still really confused about them, even after reading an article from no-film school. I know I could use a clap to sync everything but I'm wondering if there is a better option out there than the clap that would make the process faster?
Thanks so much for taking the time to answer my questions!

You need to have your sound mixer record to a separate sound mixer/recorder that is able to record a mix as well as ISOs (isolated inputs, or each mic source to an individual track). The separate sound files are synchronized with the video files using time code, a slate (clapper), or waveform matching… or a combination of at least 2 of those three.

Not an expert in audio

Which is why you need one on your crew. Don’t waste your money on cheap sound gear that isn’t even the right slution.

Seriously, find a sound mixer who has the equipment AND the knowledge and experience to use it. Your sound will be better for it.