haifai

Why not? The hammam where we filmed was fully in action, steam bath, fog, humidity, pools, hot and cold rooms... If they want the steam in the sauna it has to be on... I just would run a test with the lavs before and than decide whats possible...

I made a shot in an hammam this year... No lavs, as the guy was sometimes in the water. I used my 744t and an MS Boom Gefell M310/Neumann KM120. We have been with our camera and soundequipment 2hours before start to give the time for acclimatization. Everything was working without problems. Only downside was the poor sound of the location... I you have the chance make a test with your wireless and you will know if its working...

I realy like the Dpa 4017 (very neutral), Neumann kmr is a bit better then mkh 416 as is the mkh 8060, with the cmit i have mixed experiences ( the one i rented from a friend seemed to be more a nice weather mic), so there is a big choice - just take some mic stands, rent the mics you are interested in and put them close to each other and listen what you likes best...

I use it ( for Headphones and Boxes) and like it, i use it in a semiprofessional small editing room and it works quite well...

I use RRC branded ones, they work since 3years without problems...

if i can get close to the talking head specialy for classic sit down interviews i dont use shotguns anymore, as distance you loose the length of the tube, and the tube of a mkh416 is rather long, a hyper or cardioid gets the membran closer to the soundsource, all shotguns that i tried do strange things to the sound in reflective indoors, its part of their construction... i use often Gefell M310 ( more open sounding) or Sennheiser 8050 (very good directivity, i like the sound less, but nothing that can‘t be fixed by eq)

One more Tentacle Fan here, i like the controll possibilties with the bluetooth app and that you can have a wireless sync workflow, the build in mic is super if you deal with DSLR to have a scratch track, battery life is very good and i never had a problem with jamming, the newer tentacle e has a locker for the cable... only downside for me is that there is no genlock.

Welcome Ira, as someone how from time to time is confronted with making recordings from classical orchestras, choirs or festival music for cinema and tv i think its good to have you here...

mmh, i have experience with their figure 8, its a little bit better then the emesser but not at all comparable with km 120 or schoeps ccm 8, the sound is miles away, the kortwich fig. 8 is made of two back to back electret cardioid elements from the cheaper sennheiser lines. For cardioid / omni or hyper mics i would look at a used neumann km 140 , 130 or 150 or at the microtech gefell m300/m310, better sound for not much more money...

Good choice - very natural and reliable mic, just was shooting with it in a hamam, a very humid and reflectiv space, worked like a charme... bought mine from mes germany two years ago

here in germany its a common standard, from practical side for documentary shots its unbeatable, no mic swapping, gathering ambience and dialog at the same time and the advantage that you have a dedicated mic mid are big pluses. anyway if you want to deliver xy for whatever reason you can matrix while recording in nearly every modern recorder, but then you loose the easy control of the center signal in post.

mine is working fine since years with an neumann cable. you can use any 7pin cable, just solder an 7pin xlr at the mic suspension side. i like the soundstage of this mic alot, in comparison to sennheiser 418, the at bp4027 and sanken css5.

i would try and compare the other options before buying- neumann rsm 191 ca 1500€ used, Audio-technica bp4027 1000€ new, to name some good alternatives...

you may find a used sennheiser mkh 416 for around 400€ - 500€ with a little bit of research, this mic is very reliable. if you want to buy new i would buy a sennheiser 8060, its a more modern design, lighter, shorter and has a better sound of axis and indoors, here in germany its 1000€, i think that is a very reasonable price for a high quality robust and professional tool...

if you like mkh40 you should try a 8040 before you buy, i find the mkh 8040/8050 for dialog/filmmaking more practical behause there are so small

at the post houses here in germany its mostly pro tools and some nuendo. some freelancers use reaper ore a mix of all. i think codymans idea is good - to have knowledge in Pro Tools is pretty important if you want to work in postproduction...

todays gefell mics are at the same level as sennheiser or neumann, its the former east german neumann part of the company - todays production is still in germany and they are high quality, not like telefunken or grundig that are owned by chinese - where you got this information from - it sounds like fake news!!! the mics are used a lot for theaters, studio, music and movie recording here. i had more trouble with cmit and ccm8 then with my m310...

i used a mkh 8050 and my m310 in parallel for a interview last week - my observations- mkh 8050 has mouch more deep bass, for booming sometimes to mouch and the typical sennheiser eq - ed sound that is working good for some voices for others not... m310 is mouch more neutral, i like it a lot but its also a little bit more open with the pickup, its also working better in my ms rig with a neumann kma 120. the m310 i used as a spot mic for orchester recording for the bass section, it was working good, better then the km 140s that i had for the rest of the orchester... the bass response of the gefell is nice and tide, mkh 8050 gets boomy very quick...

there is no 5pin tc in at the fs7... only bnc, so if you want hardwire you have to use TC Lemo out from 744t to bnc in of the fs7, better would be to use 2 sync boxes like tentacle with their cables... if you go hardwire you need to split the bnc cable for your 2 cams, i think (correct me if i am wrong) that the fs7 can only do tc in or out with the same connector

@Mattias Larsen i used dms until now only for ambiance recording, i only have a stereo connbox in my windshield and took my km140 with an „active“ cable for the rear channel, next project is to make a connbox for dms... a friend of mine is booming dms with a schoeps setup, cmit and two ccm in a cinela, i had his files for postproduction and sometimes it was good to have.

working in berlin for different doc productions tv and cinema its mostly ms or double ms, its practical for booming, very compact, no problems with windshields and you always have a dedicated mid mic of your choice...

@pillepalle regarding monitor options - what recorder do you use?

its the kk120 and km a that i have (it was cheaper then a ccm when i bought it),together with the gefell its a fantastic true stereo impression, nothing hyped just like you hear it with your ears, its a pity that gefell dont make a sdc fig 8...

i use gefell m310, mkh 416 or kmr 81 for the mid depending the location and distance from subject, for the side i use a neumann km 120, before i have been using neumann rsm 191 exclusivly...

@pillepalle thats why ms is very handy, you can choose the mid mic (from cardioid to shotgun everything is possible) and you capture ambience while rolling... if you have a group of people you will get the sound of them better because you will capture a wider field cause of the stereo recording...