Jump to content

Daniel Ignacio

  • Content count

  • Joined

  • Last visited

Everything posted by Daniel Ignacio

  1. Yes, that lav, the one that comes with the Sennheiser ew100 G3. My kit doesn’t have any lavs yet, and the production I’m mixing for is unwilling to rent better lavs. While I get to boom with an MKH 8060, we only have one ew100 G3 system and the ME 2 that comes with it. I’ve had no luck wiring with the bulky ME 2 capsule in the past, since it often visibly protrudes through clothing, and the weight makes it more likely to slip out of tape. I’m thinking of using a substantial moleskin sandwich this time around, but beyond that, it’s all guesswork for me. Does anyone have suggestions for hiding it? Thanks!
  2. How to hide a Sennheiser ME 2 on talent

    Thanks for the guidance, Mike. I’m hoping to demonstrate to the director how his mic is not suitable at our upcoming meeting, and ask him about if he has budget/time for ADR. If that doesn’t convince him to rent a lav, I’ll tell him that I will need more coverage for the boom, and that I’ll opt not to roll the lav track when problematic. And if he still wants me rolling the lav all the time, then I might just show up to set with a rented COS-11. I wholeheartedly agree with protecting my reputation, but at the same time, I don’t want to make it seem easy to get a lav out of me without some consideration and/or compensation beforehand.
  3. How to hide a Sennheiser ME 2 on talent

    Yeah, I’m… not going to do that, haha. The closest I’ll ever get to passive-agressiveness is asking the director if he has budget for looping. We have no wardrobe department, my similarly-named friend. A low-budget shoot, so I won’t be seeing outfits until Day 1. Camera department is one DP, and he’s the director’s friend. Though he seems nice enough that I can get him to fight for more coverage for me.
  4. How to hide a Sennheiser ME 2 on talent

    Noted. The G3 isn’t mine, and trust me if it was, I would’ve had a COS-11 shipped with it. The director says he loves using the ME 2 for his corporate videography, but he does need to know that it’s awful for everything else.
  5. How to hide a Sennheiser ME 2 on talent

    Really well put. I’ll bring up these exact points to the director. Thank you. I know, it’s an awful conundrum! I do hesitate on spending my own money for lavs because, while the pay is pretty good for an ultra-low budget, it’s not that good. On the other hand, I may have a returning client here. I’m weighing my options on whether it’s worth it.
  6. How to hide a Sennheiser ME 2 on talent

    I have not, but I’ll test it.
  7. How to hide a Sennheiser ME 2 on talent

    The production seems quite low-budget – we’re shooting on the director’s mirrorless hybrid/stills camera, with 90% non-union people. I just hope I don’t arrive to set to see that they did a “last minute” change to a fully-kitted RED, while I’m stuck with only one ME 2. I would be so disappointed. I’ve been trying to make it absolutely clear to the director that he will not get great sound with this lav, and that I need more time to rig it. The pay is fair (surprisingly so, if I might add!), but thanks for the concern.
  8. How to hide a Sennheiser ME 2 on talent

    Could you explain what you mean by this? I’m going to try with my Rycote Overcovers, hopefully they will be of use. Noted on the higher output levels, I haven’t noticed that. I have a spare pack of Sugru, actually! Great idea. — I’m not optimistic about how this mic will perform, but thanks for the ideas, all. Please do keep ’em coming.
  9. How to hide a Sennheiser ME 2 on talent

    I’ve done that, yes. Last time using it was on a bright polo shirt, and it still showed through the placket and everywhere else on the shirt. I ended up having to put it under the collar. It looks like this shoot may involve slightly heavier clothing, but a lot more movement.
  10. Cabled boom poles: Cable exit versus fixed connector

    Everyone has good points! Thanks, all.
  11. I’m relaxing by window-shopping for boom poles today, and I stopped by Ambient’s site. After watching their rather amazing Quickpole product video, I noticed that they offer an interesting flow-through, side exit option for their cabled poles. Here’s a coiled-cabled QXS with that option: The only cabled poles I’ve used so far have all had built-in male XLR connectors, so it led me to wonder: What advantages would a cable exit offer over a fixed connector?
  12. MixPre-6 – worth it for this beginner?

    Right now, I’ve got a Tascam DR-70D. It’s hardly professional, but it’s fine and lets me do my job well enough as a beginner mixer for small film shoots. I’m getting conflicting reports about the MixPre-6. The LocationSound subreddit is very negative toward it, for its lack of timecode, balanced outputs, and camera return. Meanwhile, one of the mixers I boomed for recommended it to me and was emphatic about getting one, presumably for smaller jobs that require less than her Nomad. Despite the Sound Devices name and apparently being a great product for what it is, I’m personally worried the little guy might not impress clients. Plus, with the little money I have, I’d prefer to build out my kit by finally purchasing a basic wireless lav setup (COS-11 and RodeLink) rather than building up with a mixer upgrade at this stage. So I have three options: a MixPre-6, some other sub-$1000 mixer (I’m thinking the Zoom F4), or no mixer upgrade at all. What should I do? (First post here – thanks!)
  13. Cabled boom poles: Cable exit versus fixed connector

    I knew this, but I’m wondering what booming preferences would make someone go with a side cable exit, rather than a side XLR connector.
  14. Suspicious Lectrosonics SRb eBay listing

    Yikes, it’s already marked as sold.
  15. Safdie Brothers Talk About Audio on 'Good Time'

    …This really befuddled me. Still expecting to like the movie though.
  16. MixPre-6 – worth it for this beginner?

    I sure did! Really loving the forum so far, it’s such a fantastic resource.
  17. MixPre-6 – worth it for this beginner?

    I dunno what to say man
  18. MixPre-6 – worth it for this beginner?

    Thanks for the wireless tips, I’ll do these things next time. Just for the record, I scanned and adjusted at every location. In hindsight, it was a pretty busy wireless environment at both locations, so perhaps it may have been a lost cause for any sort of wireless micing for me. I’ve seen at least two professional sound mixers use Rodelinks for fiction narrative. One of them alongside his Lectros, which was a funny juxtaposition. Your blog post was among a lot that I read, actually. And that indeed is my new plan! – shotgun upgrade and at least one wireless lav.
  19. MixPre-6 – worth it for this beginner?

    I used it in a park area, and it started breaking up after at most 15 feet away from my talent across an empty grass field with line of sight. Then I used it in a narrow hallway with concrete walls, and it started breaking up 10 feet down the corridor and two steps around a corner. Mixers I’ve worked for had similar complaints about its range. Perhaps it was a bad rental? It sounded and functioned perfectly when it did work in closer range, and I’ll take the G3 tx’s form factor over the gargantuan Rodelink tx any day. That Transom review and Curtis Judd’s videos really sold me on the MixPre-6. But I’ve decided to invest in a wireless lav kit and/or shotgun upgrade instead for the time being, and just to save up for a 633. If a 633 does end up taking too long to save up for, then I’ll take a shortcut with a MixPre-6, and I’ll be open to an F8 in this case as well. Good luck with your upgrade to a more integrated setup, in the meanwhile!
  20. MixPre-6 – worth it for this beginner?

    I would like to do this for the preamps alone (and I’ve been eyeing the MixPre-D since I was a kid). If getting a 633 or comparable recorder will take a long time for me, and I end up not having a lot of timecode projects yet (you bring up good points about that), then I might do this. I’ll note the 744T, though the 702T seems dismal with only two inputs. See, I’ve thought this and I know it’s correct, though I worked with a mixer and have seen a lot of online commenters who say otherwise. I agree with you but I’m just evaluating my options. Thanks for sharing your story! I’m afraid I get too close to that kind of mentality on a lot of shoots, haha I’ll think about the G3, but the limited range bothers me. I used it once, and the signal would start breaking up after 10 feet or so, indoors and outdoors. Though I hear the Rodelink has worse range issues for exteriors since it uses Wi-Fi. Would you mind sharing your experience with the Rodelink? I’ve used it for a short and I was relatively happy with how it performed overall. A Lectrosonics kit is definitely coming someday, but it’s honestly far away. By the time I’m finished with upgrading my shotgun, acquiring a cheaper wireless lav kit, and upgrading my mixer, I’ll definitely upgrade to Lectros.
  21. MixPre-6 – worth it for this beginner?

    Thanks for the advice, everyone. In hindsight, my mindset going into this post was pretty naive, though I failed to mention that I do more specifically want timecode capabilities, metadata entry, PFL, and better preamps with a mixer upgrade. The 633 is actually what I really want. From what I see and hear online of the 633’s capabilities and sound quality, it’s become my dream recorder. Plus, the mixer on my last feature had a 633 – while I was only booming for him, I loved that thing’s small yet friendly design. My current “endgame” (no such thing!) is either the 633 or the Maxx, and rentals for anything that requires more inputs. I may just continue with my DR-70D for a while and instead get a wireless lav kit, while saving up for the 633. Although I’ll keep this in mind.