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  2. It seems that wireless has taken over to a large amount of the recording/movie process and was wondering if it warranted a sub-forum, like Wireless, to keep it together and aid searching? Im not super technical but have reasonable ears (when the ones not blocked) and Im intrigued with all this chat of preamps and the quality of recorders and mixers as to what we loose using wireless? For example: What would be the differences in your recorded waveform and Hz to Khz S/N ratio, THD and all those other very important things (that you often dont hear) between say Cos 11 lapel XLR'd direct to a recorder ie633 (coz I have one) vs Cos 11 lapel into Lectrosonics transmitter>receiver>recorder vs Cos 11 lapel into Sennheiser G3 Transmitter>receiver>recorder VS Cos Lapel into Sony wireless transmitter>receiver>recorder How is your signal getting denatured by wireless compared to it going via a cable? I love the "Measure with a micrometer, mark with chalk and cut with an axe" statement. It sort of epitomises that attention to detail people desire while still loosing in the long run. The gear I chose it totally arbitrary as long as its the same in each case.
  3. Eric Toline

    Cedar DNS 2 Digital I/O

    I can make you those adapters. Call me: 954-289-4770
  4. Script makes a huge difference, if it's resolutely a two hander that's one thing, if there's multiple scenes with multiple characters, solo sound would likely have been a total head banger, and they'd likely have no hesitation trampling you........ Probably best off out of it......
  5. Ilari Sivil

    Cedar DNS 2 Digital I/O

    So you'd need TA5M to XLR3F with AES-compliant cable? That seems like a rare one, I'd guess you'd need to make a special order or make it yourself.
  6. Hey Folks, sorry for being unresponsive to this, for the material I believe I used PLA, but I'd suggest looking for something more flexible in the long run, my blimp proved to be a tad too fragile and cracked at one point on one of the closing caps. I do not have the STL files with me, they are on a hard drive far from home as this was supposed to be a one time experiment. The friend that helped me with them probably still has them, I'll ask Some takeaways topics/mistakes from this after 3 years since the experiment: 1) I had to print the blimp cylinder in 3 different pieces that got glued together, this is because most printers would not be able to print something that tall. 2) Glueing the fabric to the plastic frame is a nightmare, especially considered I was using a hot glue gun. 3) Did not try to print the pistolgrip so ended up relying on a third party one and created the model around it. This is the main reason I abandoned the experiment after as I didn't have any other pistolgrips to try new models with. 4) It's a fun experiment that has the potential of reducing costs for work, I ended up spending more than 10 hours on this project from ideation to assembling and I still can't quite decide whether it was worth it. It was fun and instructive but maybe ahead of the time as the print costed somewhere around 80 to 120 pounds from what I remember. That said anything that breaks can be printed in the form of replacement which is great. I hope this helps a bit Mattia.
  7. IronFilm

    AATON Cantar Mini VS. Sonosax SX-R4+

    Looks like uncorrected log footage in large parts of it.
  8. soundtrane

    Cedar DNS 2 Digital I/O

    i think REAN has TA3 to XLR adapters. never seen a TA5 to XLR adapter. it's not logical anyways...
  9. Alejandro Reyes

    Do you really work alone on a fiction feature film?

    Hi Fred, I often work alone because certain production can't afford a 2 person sound crew. Yet I'm always fighting for a boom op, but as I mentioned before not all productions can afford 2 people and I am almost always doing everything alone. However, the standard is always to have a sound mixer, boom op, and utility that'll serve as a second sound mixer and or second boom op. When productions travel, the standard is to hire someone local, at least when it comes to sound. It's a shame they didn't go with you, when they could saved money flying the sound guy in, and on top of having to pay for room and board, plus rental equipment. The best thing to do in this case, is to move on to the next project. I hope everything works out for you, and congratulation on France winning The World Cup!
  10. yizhye20

    AATON Cantar Mini VS. Sonosax SX-R4+

    tried another day to find a place to rent it. Still don't get any info.
  11. KGraham045

    Cedar DNS 2 Digital I/O

    Anyone use the Digital I/O of the Cedar DNS 2? I have a AES Snake with TA5F connections for my Nomad 12a digital I/O. Is there an adapter that I can use to convert my TA5F to XLR to use the Digital I/O of the Cedar? Trying to not have to purchase another digital snake... Thanks
  12. Look at the script Look at the pay Make the decision mike
  13. mikewest

    "Sound Speeds" vlog

    What name do you use on IMDB ? mike
  14. If the cost of doing business is too high, don’t do business. If it will cost too much to make your film, raise more funds or abandon the project. Not your problem, but if a producer wants to go forward on a project that is so underfunded that they can’t afford to pay for even the most basic of things like crew and lodging, but still want to shoot internationally, I’m going to guess that this production will have many more problems than budget. Run away
  15. Hi All, Hope all is well. I've been trying different ways to gain stage a Sennheiser G3 (with DPA 4061 lav) into a MixPre 10T. I tried "line in" - sounded good but felt level hitting MP-10T was a little low - had to crank the 10T input gain a little bit high. I tried Mic level in and that seemed good as well, after bring the input level down a bit. Either way seemed to sound good but just wondering if you've discovered an optimum gain staging combination of lav into transmitter, receiver out into 10T, and 10T input level. Thanks kindly and cheers, Dave
  16. Hi All, Hope this hasn't been posted before. - didn't see it with a search...... camera friend thought we might enjoy this..... Maybe needs a Production Sound version? Could come in handy on a lot of gigs when all else fails : Cheers, Dave
  17. Philip Perkins

    Do you really work alone on a fiction feature film?

    It happens all the time. Have done it, it was tough. Usually very low budg, produced by newbs. Good opportunity for a newb soundie, even if it is very painful you will learn a lot of things. If you are not a newb, ie are doing sound for a living: not worth it at all unless you are married to the director.
  18. John Blankenship

    AATON Cantar Mini VS. Sonosax SX-R4+

    IMO, that attempt to be trendy with the video effect was a REALLY bad choice. It drew my attention away from the performance and made it basically unwatchable for me.
  19. JonG

    Nagra 4.2 Plastic Cover

    For 5” or 7” reels?
  20. Wandering Ear

    Do you really work alone on a fiction feature film?

    Not the norm, and not worth it. But it happens anyway.
  21. Yesterday
  22. Positions filled. Thank you for the responses.
  23. Be glad you didn't "get" it. Sounds like a nightmare EVERY day it shoots. D.
  24. axel

    Microdot to Lectro TA5 failure

    I 've worked with the YPAs when the old original DPA adaptors were still delivering very hot in gain on the Lectros. DPA changed their configuration some years ago, since then their adapters work smoothly. YPA has the right config, but the threading on the microdot side of my adapters was poorly made and with actors movements they easily lost connection. Maybe this has been fixed in the meantime, but when the new DPA 3056 came out I switched back to the originals and have not have any failure since then.
  25. Fred Salles

    Do you really work alone on a fiction feature film?

    Thanks everyone, I am glad you confirmed my intuition. I was kind of worry that the situation, already not so great for sound department worldwide, got out of hand in US... It must definitely be a very low budget film: Ironfilm: the director is the camera person and dop... so if I understood correctly camera crew is director+1st assistant, and there must be a DIT person, plus one gaffer hopefully. When I mentionned having a third person in sound crew as a trainee, the production manager told me it would be difficult for him to convinced them to have a sound crew bigger than the camera crew :-)) Chris: it is still not cool but it might be financially cheaper for them as the main location is out of town so they have to accommodate the whole crew anyway. So rates + accomodation+catering for me and boom op might sum up to more than bringing one person. Maybe. I also guess the person will bring strict minimum gear to lower luggage overweight or extra charge, and will probably charge less than what I was asking for gear, or maybe wont charge at all if they are friends. Anyway, the script is good quality so who knows? I wish them all the best.
  26. al mcguire

    HN-7506 or something else

    +1
  27. Constantin

    Microdot to Lectro TA5 failure

    Never had that happen. One of my adapters once broken and I just replaced it. Yes they are pricey, but sending it in and the repair cost and all is just as expensive as simply replacing it. Whatever you do DO NOT buy chinese knockoffs.
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