Field Audio Production
Follow these steps to build the field audio package used with the C6D camera package build.
Once the C6D package is ready, locate one of three filed audio kits contained in a Pelican 1500 case. They are labeled FA1, FA2 and FA3.
Inside the case you'll find the following (clockwise from the top left): Sony Studio Monitor, mounting clamp, the Tascam 60D MKii mixer, a Rode bag (underneath the shotgun pop filter), the Rode Shotgun pop filter, the Rode NTG2 shotgun mic with wind suppression filter, AA battery charger, the Rode wireless receiver (RX), and the Rode Wireless transmitter (TX).
First, attach all the components needed for field audio acquisition, the Tascam 60D mixer and the Rode wireless receiver.
Remove the mixer and attach it to the D-frame on its 45 degree angle. Line up the quarter inch mounting thumb screw,
...and tighten until the unit is snug against the D-frame.
Make sure the mixer faces up for best access.
On the top right of the D-frame locate the 3/8ths inch allen bolt use to mount the RODELink receiver.
Locate the receiver from the Pelican case and mount it on the allen bolt.
When properly tightened, the receiver lines up parallel with the D-frame.
Now that the audio devices are mounted to the D-frame, engineer the audio signals to run from receiver to mixer and then mixer to camera. Locate the 3.5mm male-to-male coiled patch cable from the Rode pouch and plug one end into the receiver and screw the connector to the receiver body.
Plug the other end of the patch cable into the 3-4 jack on the audio input side of the mixer.
Next, locate a second coiled 3.5mm patch cable and plug one end into the input jack on the camera,
and the other into the CAMERA OUT (HIGH)/LINE OUT 3.5mm jack on the audio output side of the mixer.
The Tascam 60D should have an SD card installed and formatted.
Next, locate the RODELink transmitter (TX) and black lavalier pouch from the Pelican case.
The pouch contains (clockwise from left): a wind noise filer, a 3.5mm patch cable, a lavalier clip, a lavalier microphone and a pop filter.
If engineering for an interview, attach the lavalier mic to the mic clip.
Attach the 3.5mm plug into the jack on the TX and power it on.
Power on the RX on the camera package. After a few moments, bot the TX and the RX will pair and show which channels upon which they're sending signal.
Place the pop filter on the lavalier mic before fitting to subject.
When handling and removing the pop filter from the lavalier, always be sure to grasp it by the rubber grommet, not the spongy filter material, to keep it from separating.
Next, locate the Sony monitor headphones from the Pelican case and plug them into the 3.5mm PHONES jack on the audio output side of the mixer.
Check out this tutorial on the Tascam D60 mixer. The power button is on the RH side of the mixer, O/I. Power the mixer on. The MONITOR SELECT button allows you to choose which part of the signal you with to monitor through the headphones. Keep it on the MIX Main selection.
Pressing the MENU brings up settings for mixer engineering - REC MODE, INPUT SETTING, REC SETTING, AUTO REC, PLAY SETTING and then two settings on the scroll, BROWSE and OTHERS.
Select the REC MODE setting by rotating the larger ENTER/MARK dial and push the dial to select the setting.
A new menu appears showing options for REC MODE, SOURCE and DUAL LEVEL. REC MODE has two options, DUAL and MONO. Leave this at the default DUAL setting. Rotate the dial to select the SOURCE setting. Click the dial to see the sourced settings, CH1, CH2, CH3, and CH4. CH3 and CH4 are linked for stereo unbalanced signals such as a stereo shotgun mic that attaches to a DSLR. In the case of using the RODELink wireless system, its signal is recorded to two channels with a desired dB split in signal strength, creating a safety track in the event of over-modulation (clipping) or a signal that's too low.
The DUAL LVL setting allows you to set the split on the DUAL record mode. The default setting is 6dB. Leave it there.
Once the REC MODE is set, the desired mix channel can be attenuated by its respective knob.
The mixer will mix down to the camera or if you want to record dual system sync sound, you can use the control panel on the mix to record/pause/slate and search and playback recorded files.
You're now set to start production.
Once the C6D package is ready, locate one of three filed audio kits contained in a Pelican 1500 case. They are labeled FA1, FA2 and FA3.
Inside the case you'll find the following (clockwise from the top left): Sony Studio Monitor, mounting clamp, the Tascam 60D MKii mixer, a Rode bag (underneath the shotgun pop filter), the Rode Shotgun pop filter, the Rode NTG2 shotgun mic with wind suppression filter, AA battery charger, the Rode wireless receiver (RX), and the Rode Wireless transmitter (TX).
First, attach all the components needed for field audio acquisition, the Tascam 60D mixer and the Rode wireless receiver.
Remove the mixer and attach it to the D-frame on its 45 degree angle. Line up the quarter inch mounting thumb screw,
...and tighten until the unit is snug against the D-frame.
Make sure the mixer faces up for best access.
On the top right of the D-frame locate the 3/8ths inch allen bolt use to mount the RODELink receiver.
Locate the receiver from the Pelican case and mount it on the allen bolt.
When properly tightened, the receiver lines up parallel with the D-frame.
Now that the audio devices are mounted to the D-frame, engineer the audio signals to run from receiver to mixer and then mixer to camera. Locate the 3.5mm male-to-male coiled patch cable from the Rode pouch and plug one end into the receiver and screw the connector to the receiver body.
Plug the other end of the patch cable into the 3-4 jack on the audio input side of the mixer.
Next, locate a second coiled 3.5mm patch cable and plug one end into the input jack on the camera,
and the other into the CAMERA OUT (HIGH)/LINE OUT 3.5mm jack on the audio output side of the mixer.
The Tascam 60D should have an SD card installed and formatted.
Next, locate the RODELink transmitter (TX) and black lavalier pouch from the Pelican case.
The pouch contains (clockwise from left): a wind noise filer, a 3.5mm patch cable, a lavalier clip, a lavalier microphone and a pop filter.
If engineering for an interview, attach the lavalier mic to the mic clip.
Attach the 3.5mm plug into the jack on the TX and power it on.
Power on the RX on the camera package. After a few moments, bot the TX and the RX will pair and show which channels upon which they're sending signal.
Place the pop filter on the lavalier mic before fitting to subject.
When handling and removing the pop filter from the lavalier, always be sure to grasp it by the rubber grommet, not the spongy filter material, to keep it from separating.
Next, locate the Sony monitor headphones from the Pelican case and plug them into the 3.5mm PHONES jack on the audio output side of the mixer.
Check out this tutorial on the Tascam D60 mixer. The power button is on the RH side of the mixer, O/I. Power the mixer on. The MONITOR SELECT button allows you to choose which part of the signal you with to monitor through the headphones. Keep it on the MIX Main selection.
Pressing the MENU brings up settings for mixer engineering - REC MODE, INPUT SETTING, REC SETTING, AUTO REC, PLAY SETTING and then two settings on the scroll, BROWSE and OTHERS.
Select the REC MODE setting by rotating the larger ENTER/MARK dial and push the dial to select the setting.
A new menu appears showing options for REC MODE, SOURCE and DUAL LEVEL. REC MODE has two options, DUAL and MONO. Leave this at the default DUAL setting. Rotate the dial to select the SOURCE setting. Click the dial to see the sourced settings, CH1, CH2, CH3, and CH4. CH3 and CH4 are linked for stereo unbalanced signals such as a stereo shotgun mic that attaches to a DSLR. In the case of using the RODELink wireless system, its signal is recorded to two channels with a desired dB split in signal strength, creating a safety track in the event of over-modulation (clipping) or a signal that's too low.
The DUAL LVL setting allows you to set the split on the DUAL record mode. The default setting is 6dB. Leave it there.
Once the REC MODE is set, the desired mix channel can be attenuated by its respective knob.
The mixer will mix down to the camera or if you want to record dual system sync sound, you can use the control panel on the mix to record/pause/slate and search and playback recorded files.
You're now set to start production.
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