Michael Manzke

You can find all the latest firmware and documentations at www.cantarx.com . There is also a "Cantar X3 User Group" at facebook with all documentations and repair guides.

I've done a few projects in the past for social media where the production insisted on using iPhones. I've used a smart slate, but the main problem was the variable frame rate from the iPhones. Even though it stated that it was recording with 30fps, it used a variable frame rate, which led to a lot of out-of-sync audio in the final release (though it might also have been an error of the rookie editor). Try searching the web for "mobile phone external audio drift". There are some fixes that seem to work for some of people, but you might want to talk to post/production and tell them about potential problems. Short clips might work, but as soon as you roll a few minutes, the drift will become a problem.

@RadoStefanov I think RRC is actually a german company (but they are also located in China, Hong Kong and the USA)

I think that most directors will prefer to get it right on the set and not "waste" time to fiddle around with AI for every scene. Of course there might be moments which they'll like to alter. But that's what ADR is for - it's not just a technical thing, but also a creative exchange between director and actor/actress where both sides bring their ideas and interpretations to the table. And I think that the actors guild will fight against actor's voices being copied by AI and to keep the voice as an intellectual property of the actors.

I'm only familiar with 5 and 4 pin lemo connectors and I might be wrong when it comes to the 2-Pin version, but I don't think that it's possible to replace a single pin. Just get a new Lemo connector instead.

+1 for covering everybody with lav mics. It'll make your job easier and will give you a balanced sound among all participants. Swinging a boom in this scenario sounds horrifying, swinging a MKH50 even more (I really love my MKH50, but fast boom movements are nothing I am looking forward to with this microphone).

Have you tried to do a forced power down? If not: hold the menu button for 5 seconds until the TC LED stops flashing and power it back up.

I've learned this the hard way while shooting on a boat. We had a lot of wind and even though I couldn't hear any low frequency rumbling of the wind, I did hear the compander pumping the audio signal quite a lot. Enabling the lo-cut on the mic itself solved that issue

Congratulations Matthias! That looks (and sounds ofc) like a really great and I assume also challenging project. And even if it's just the teaser: ...I guess I'll have to subscribe once again to netflix 😅 Also I'm really curious about your experiences that you've made while filming in the volume, for example dealing with windmachines, acoustics and the overall noise of the volume itself. Looking forward to watch it

As others have said before: whatever works for you....personally I think it's just bad for your neck and spine

https://schoeps.de/produkte/colette/mikrofonverstaerker/cmr.html This should work, shouldn't it? It lacks the gooseneck though.

Still looks a bit messy, but works for me so far. The velcro on the top right holds my two nanoLockits and everything is connected to the Powercon plug.

I use Shure Wireless Workbench. You can simply type in a postal code (and manual frequency exclusions) and it'll show you all the available frequencies. It's not for mobile devices though

It's two channels via AES42 (Channel 1 is the SuperCMIT signal, channel 2 is the untreated signal), so if you have enough spare inputs I'd record both of them.

Some molton mounted on a c-stand might help (rollmops) and should be set up quite fast. Apart from that, a superCMIT or a Cedar DNS might also help reduce the reverberation.

The Sennheiser IEM EK G2/G3/G4 do work with a SK G2/G3/G4 transmitter as long as the frequencies match. (I've never used a G1 EK/SK, but I'll assume, that they'd also work)

As for the portable lightweight cart: have a look at a züca cart. Once disassembled it has a really small footprint. Also you might want to pack a soldering iron, screwdrivers and a few backup cables just in case

I've been on a shoot last year where a scene took place in a very small ship cabin. Any pole longer than 50-60cm would have been a problem in that space..so far this has been the only occasion where I really needed that pole. (I think it's an old vdB pole)

My first thought would be to get a less bulky bag or to attach the receivers on the outer frame. That way you'll also gain space inside the bag. Depending on the kind of jobs you do on a regular basis you might want to ask yourself if you really need to care about the IR for syncing. Also some right angle TRS connectors seem to be a good idea :)

A quick google search will guide you to a lot of shops with the DIN 1.0/2.3 plug ready to ship with a price of about 4€ per piece. ;) And it also reveals, that the plug has to be crimped so you need to get a crimp tool (unless you already have one).

Interesting product though I'd be happy to see the output on top rather than on the bottom. Otherwise it could be a bit cumbersome while using it as an IEM.

The 833 offers quite a lot for it's price and was never intended to replace any of the bigger recorders. It still can be paired with a CL-12 and a lot of MCU controllers which are a lot cheaper compared to what the CL16 will most likely cost. So I don't really see any problem with the lack of support for the CL16. 🤷‍♂️

This might be the reason they have this "hidden" connector (at 5:20):

Used it last year for two months in that configuration and had no issues.

Today I finally received a package with a 3d-print of a sunhood for the Wisycom MCR42 that I designed a few days ago. Maybe some of you are interested to 3d-print it yourself or make changes on the actual desgin (https://www.tinkercad.com/things/gixHGct25vD). It simply clips onto the wider part of the MCR housing and it seems like it doesn't do any damage by applying too much pressure to the MCR42. So far it's only a prototype and is not intended to work with something like the superslot or any other rackmount (though it could be altered).