X-tana
Imported Account
Jun 22, 2001, 12:25 PM
Post #9 of 9
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Hazuma,
I'm very grateful to you for your thoughtful and practical answer. I will refer to it often. Thank you.
: Tana -
: you say you are a newbie with the XL1, but how much experience do you have as an animator?
: An "XLR" adapter is used to connect an external microphones (like shotguns or wireless remotes) to the XL-1 for better quality audio capture, during live filming, than you can get with the camera's on-board microphone. If you've got a good quality studio mic, or shotgun, with an XLR plug (three pins in a round connector on a shielded cable) then you need an XLR adapter to connect it to the adio input on the XL1. these mics cost hundreds of $, on top of the cost of the XLR adapter. if you don't have the mic., you don't need the adapter.
:
: here is what it sounds like you are proposing to do:
: 1 - record the audio onto a min-DV cassette using the XL-1's microphone.
: 2 - record the stop-motion animation onto the same cassette.
: There are LOTS of challenges in that scheme.
: IF you have some kind of post production facilities, an easier way to do this would be to shoot the stop-motion footage first, then record the audio afterwards -- while watching the playback. This is called looping. It is a WHOLE lot easier to control the rate at which you talk to synch up with the action, than it is to try to animate to previously recorded sound.
: That is not to say that the other way doesn't work. In fact, most traditional animation is done the other way, by teams of animators who rely (increasingly) on software to produce the keyframes and phoneme timing.
: For what you are proposing, the on-board mic should do just fine, provided you set up your "recording studio" carefully.
: You'll want to get pretty close to the microphone.
: Connect headphones to the camera, if you've got them, and montor the sound as you record it. Get as close to the camera as you can before you start picking up "pops" on words with plosives (Bs and Ps) or hiss on sibilants.
: Stand between the microphone and some sound absorbing backrgound (like heavy drapes).
: A room with lots of (upholtered) furniture,and wall-to-wall carpeting will minimize echos from the walls and floor.
: Setting up the camera so that it is above your head, and pointed down, will help reduce the echo it picks up from the ceiling.
: You can also wrap something soft (like a sock) around the sides and back of the microphone to muffle the "off axis' pick-up, and make it more directional.
: If you can rig up a frame, and stretch a piece of lightweight cloth (panyt hose works really well for this) in front of the mic (bot not touching the microphone) this will help reduce the "smacks" and "pops" too.
: That said, you are still going to need to record the sound separately from the animation and synch them up somehow. Looking at your other posts i am guessing that you don't have easy access to any non linear edittng equipment or software? If I am mistaken, pretty much any NLE program will have some audio mixing built in, which can help to make the sound more "professional".
: Good luck.
: : Hi, I'm doing a claymation movie with dialogue. I plan to tape the dialogue first then match the figures to the speech. When I do the voices into the provided mike on the xl1 it doesn't sound too good. I tried different things but the sound is always unprofessional. I'm thinking of getting an xl1 adapter but I don't really know what they do. I'm new too all this and I really could use some good advice to get started. Thanks
: : Tana
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