Equalization (EQ) During Production As an audio engineer on set, get the voice of the actor in your head. Make these recordings as clean as can be so that you can use them later if needed. Do this before or after recording room tone. For simplified use, the buttons and screen work in the same format. If you need to, you can reset the transmitter to factory settings as you did with the receiver. 7 Set the sensitivity of the transmitter by going to «Sensit» within the operating menu. The capsule is based on the evolution 800 series, providing rich sound while minimizing the risk of feed- back.
Miking Techniques Sound is the first thing that separates amateur and professional film. This process only requires a few button presses. It can save you from experiencing interference, and potentially save a take or two, or even an entire day’s work. It’s well worth the effort. Make sure that the sensitivity level on the transmitter is adjusted accordingly. 11 Set the SKM 100 G2 microphone and the EM 100 G2 rack-mount receiver to the same frequency to allow integrated media.
Phase Demystified With two lavs you can have problems with phasing if both mics are sent to same channel. Input Routing Leave as default (channel 1 to LEFT; channel 2 to RIGHT) 1>A; 2>B Phantom Power OFF (mixer handles this) Limiter OFF (kills dynamic range of actor’s performance) Gain Range Not really needed unless your mic is VERY sensitive or unresponsive. Adapt the frequency levels of the other components that are hooked up through the XLR-3 and 1/4-inch sockets and press «Set.» Items you will need References Article Feedback Click here to provide feedback on this article. Monitoring with headphones: Recordist MUST monitor from recorder; boom operator can monitor from mixer. Make the cable routing and connections as flexible as possible so that equipment can move freely. If you have to force or stretch your equipment you will introduce noise. When the mic is 3′ away from an actor and all you hear is room tone, the film sounds amateurish.