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  2. COS-11D SMQV transmitters gain issues

    Yes. LEF
  3. Which Schoeps mics for documentaries?

    I don't use my MK41 outdoors so I only have a regular foam for it. I'm looking at the Bubblebee spacer or similiar for it so I can use it outdoors too. I own the PIA-1 for my CMIT and I love it! I mainly keep the short fur on it unless I'm using it indoors, then I just use the cloth inner skin. I have a higher wind furry that is no longer offered and is shorter than the two high wind versions listed. I've only had to bring it out three or four times in very high winds. Otherwise the Piano short fur is enough.
  4. shock mount

    Which lyers? With a Softie or just the foamy windscreen???
  5. Rycote announces Stereo Cyclone

    I really like the new Conn box. That's some nice work there, Simon, on all of these.
  6. Today
  7. Which Schoeps mics for documentaries?

    I use the Rycote WS4 Basket for the cmit and the small Rycote basket for ccm41.For heavy wind conditions I use the windjammer over the basket. For indoor, I use the large hollow foam in case of fast boom movement! Works great since years and the Rycote system is very easy to upgrade for MS or DMS!
  8. Audio Ltd. EN2 or Audio Wireless

    That does sound like you are getting into the limiter. What gain are you running your tx at? I used to use 3 for a cos11. 4 for a DPA 4071. That seemed to be a good all round level for all but the loudest shouting.
  9. Boom op-less

    You're overthinking it.
  10. shock mount

    I have the Invision and was using it with a 416 Sent from my iPad using Tapatalk
  11. NFL sideline mic

    Of course! I've got them on CBS this coming weekend!
  12. Prototype BEC bracket for F55 Documentary Dock

    Ah, yeah I can see why that would be confusing... The side plate bracket is part of the battery adapter (V-Lock to Anton Bauer I think) and won't be used on the actual camera configuration for the job I'm doing (I just went in to VER and grabbed a camera to test the prototype bracket). The F55 Dock doesn't have the two screw holes on the very back of the camera (behind the slot-in receiver plate) to secure the adapter plate like you would on a F800 or similar, so even if we did use that adapter it wouldn't be secure enough to take the weight of the RX200. I could probably have bodged something but the job I'm prepping for is a three month shoot all over the world so it's worth a bit of expense to make a really solid rig! Totally agree on the universal mount idea. I was vaguely talking to Mike about making a bracket that consists of a horizontal piece with two screws in a slot (like a tripod plate) to accommodate different spacings of holes, which would would be joined to a sliding vertical piece which could be moved closer or further from the camera, which would have the standard 4 BEC mounting holes. Kinda hard to describe, but could be a simple solution to ever changing camera rigs...?
  13. Which Schoeps mics for documentaries?

    Schoeps CCM41 (and CCM8 for stereo) with Cinela Windscreen / Shockmount
  14. Which Schoeps mics for documentaries?

    Thanks, I think this is where I end up: MK4/MK41/CMIT5. We'll still have the 416, of course, for comparison. There are options for wind screens: 1. B5D - hollow foam - minimal 2. W5D - large hollow foam - for heavier wind 3. PIA-1 - elaborate basket windscreen for CMIT5. Do you use any of these?
  15. COS-11D SMQV transmitters gain issues

    The 10k resistor is not correct in any case for any COS-11, be it reduced sensitivity, enhanced sensitivity or ribbed. A 1k resistor is shown in our recommended wiring diagram, This will give you 20 dB more signal which should solve the problem, all ribbing aside. Lectro will send you some tiny 1/10th Watt resistors free of charge if you ask service at 1-800 821-1121. Best Regards, Larry Fisher
  16. Which Schoeps mics for documentaries?

    Earlier in my career, I recorded an interview with a foreman on an oil drilling rig with a 416. It sounded fine. It was a closeup mind you and I had the 416 right on edge of frame, l but I could hear everything the subject said above the din of the drilling machinery. I’ve been a faithful advocate of that mic since.
  17. Which Schoeps mics for documentaries?

    Hey, i would defently take the option with the CMIT. I have done a lot of differnt doc in the last years and I have used my cmit everyday but there was just one day out of one hundred where i may have used a omi capsule. A omni is a nice to have, for your group discussion set sometimes, but it works great for me to capture up to 5 people with the mk 41 or mk4 on my boom!
  18. Boom op-less

    Never take less for yourself and your gear in order to get a boom op. It devalues what we do as mixers and makes it hard to make a living. Productions should be educated on what it takes to capture good production sound and that includes decent rates for mixers, boom operators and our gear. It's hard enough working without a utility on a lot of shows.
  19. 664 panic

    Not such a good idea a client will only see size for size. If you have a say a 32gb card they will think any 32gb card will just be equivalent not knowing that it maybe useless with the set-up recorder you are using.
  20. Recording 160dB?

    I think your producers are missing something here. Even if you did manage to record the sine waves at those levels, they are too low to be replicated on most of the playback devices people watch on these days (and quite boring). I would say you can't escape the low frequencies, so instead focus on the sound of the viewers experience, aka all the rattling and shaking. The buzzes and rattles will be what sells the volume to the viewer at the end of the day. Find a cabinet in the room that buzzes and mic it.
  21. 664 panic

    You can always tell the clients that they can just purchase your card if they don't want to transfer on location or get it back to you reasonably soon.
  22. Which Schoeps mics for documentaries?

    If you're having trouble booming the subject during a steadicam shot, you should work on your booming technique. Changing your microphone won't help if your mic placement is off. Boom operators used the 416 for years and even today on all types of moving shots. An Omni mic isn't going to help all that much since you will be picking up a lot more background noise.
  23. Best mic for specific location

    I found the Sennheiser MKE-2 to be a fairly tight sounding lav mic. When I used the mic it was not hidden, but clipped on a men's suit jacket/blazer. Seemed less "open" to me than a COS-11. Please let us know how it goes.
  24. 664 panic

    My suggestion is to always use your own approved media, use a laptop to copy to their media at EOD which is much faster than recorder copy -Ken
  25. 664 panic

    It was not able to play the file but being able to put time code back was awesome. Sent from my iPad using Tapatalk New approved cards ordered yesterday. I keep having clients wanting to exchange my cards for one they have. Copying with the mixer is slow. Sent from my iPad using Tapatalk
  26. Which Schoeps mics for documentaries?

    Boom technique is often more important than mic choice. Many here have quite successfully used a variety of mics -- including the 416 -- on group discussions with people talking quickly back and forth. Bernie mentioned booming from below. If that's an option -- sunny days with lots of shadows, etc. -- then the hero mic is a Sanken CS3e. They work great from below due to being a short shotgun with very little rear lobe. Mics are tools -- the right tool for the right job -- and they're basic tools in our world. An important part of being a professional is knowing your tools. There is no automatic microphone that will do the job for you.
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