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Christian Spaeth

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Everything posted by Christian Spaeth

  1. Looking Into Buying Zaxcom IFB

    you can use any Sennheiser transmitter that is G3 compatible, so an SK 100 G3 or upwards. Though that one has only 30 mW, with the antenna mod many people have done on their G3s you have many options to increase range, although for bag use the range is very good as is. With a pocket Tx you will only transmit mono though.
  2. Looking Into Buying Zaxcom IFB

    Scott, maybe another interesting option for you is Sennheiser IFB (ew 300). I guess in the US most people use either Lectro or Comteks for IFB, but if you want AAs (Eneloops will run the receivers for a whole day), good sound quality (better than Comtek, maybe not as good as Lectro) and very good range (I mostly use them with a normal 30 mW pocket Tx and never got complaints on reach, but you could use a stronger Tx as well) and a good price, these are worth considering. There was a small box by Ambient a few years back that I used on a show. It had no built in TC generator, instead received TC wirelessly, so basically when the camera was too far away there was no TC being fed until the signal was back. Wasn't ideal. I think the product is discontinued.
  3. #metoo and sexism in general

    Useful advice here on wiring etiquette. Being aware of potential misreadings is very important. My impression is that on set there is generally less sexism than in other work environments, that things are more balanced. And there are many strong women in the biz (such as our amazing Jan!) which scares predators who are usually cowards. Another story is generic, non-sexist asshole behavior on set, which we all have witnessed.
  4. Boom and Live Vocals. Good lesson from 1955.

    Amazing performance! Here's a voice with technique, one can tell. Unfortunately this is no longer the standard with actors...
  5. Rates in UK / Europe

    You can charge 700 € per day for feature gear? I'm movin' to the Netherlands baby!
  6. new low cost radiomic

    So Zaxcom wireless is also not usable to you? ;-)
  7. Deal Memo after the shoot

    Fortunately I have always been paid in ten years, but a producer friend of mine learned this lesson about law: Yes, the law might be totally on your side, but if the other side is a big company with an army of lawyers, and they just choose not to pay you, for whatever reason, what are you gonna do? In the case of my friend the client (big agency) offered to pay half of what they had agreed on before, and said if he didn't like it he could go to court, but then they would pay zero. Since he couldn't afford the latter, he ended up just taking the money they offered and take a loan on his house to pay the people who had worked for him. Our job is small time, our rates peanuts to most productions (compared how much money gets senselessly burned everywhere in big companies), so I guess we're pretty safe in general to get paid. Well, my experience.
  8. PDR Lectrosonics

    Nice idea for the Alexa Mini Axel!
  9. Rates in UK / Europe

    I'd say 250-300 ish (€) for the basic kit, given you offer 4 wireless kits. Extra lav at least 50 €. Maybe others will chime in so you can get a good average. By the way, speaking of producers, I sometimes get the feeling some of them will always try to negotiate on labour rate but will often accept equipment rate, both regardless of actual price. And if we talk about proper commercials, prices are generally higher.
  10. Aston Origin Large Diaphragm Mic Review

    I had this at home... sounds good but (to me) inacceptably high self noise.
  11. Boom op-less

    Dude you certainly don't get to play the South Park card. South Park is a deeply political, thoughtful analysis of modern American society, that has absolutely nothing in common with the unf***able-white-male-trolling you spend your time with.
  12. Rates in UK / Europe

    I think the rate in Brazil doesn't have to be the same as in Britain, as general costs of living can differ significantly, so for foreign productions I think it's sensible to charge on the upper end of what you would charge for a local production. Now for the equipment, prices should be similar in all the world, as prices for buying the equipment are similar too. That said, I think 350 pounds including kit is too low.
  13. Which Schoeps mics for documentaries?

    Definitely keep your 416, it's a weapon for doc exteriors. Additionally, a CMC6/MK41 combo for sit down interviews and interiors. You'd be surprised how much reach this hyper has, while sounding great off axis (unlike the 416). Also maybe get another or two wireless. And if you haven't already, put a mic on the cam, hyper or shotgun, even a Rode NTG1 is fine for this, very useful sometimes in uncertain situations where you cant get as close as you'd like.
  14. Cuban Sonic Spying?

    ...And the earth is actually flat!
  15. Is a new Sound Devices MixPre-10T coming soon?

    Hi Paul, thanks for clarifying. One question: What happens when I change metadata/track names etc. after a file has been copied? Will it update the info automatically?
  16. Is a new Sound Devices MixPre-10T coming soon?

    The copy mechanism sounds to me a lot like what e.g. the Zaxcom Nomad does. If the primary card failed, you'd be f*ed too. You'd be a bit better off because of MARF but the idea is very similar.
  17. Update on the upcoming Tentacle Sync-E

    Timecode boxes have become like printers or something like that in such little time. Not too long ago it was almost a luxury, now you have plenty of very affordable options and they're all really good IMO, so you can't really go wrong on either of the aforementioned.
  18. NEW: Audio Ltd - DDX1010

    huge plus!
  19. DPA 4017B Vs CMIT 5U

    I didn't want to spell that out but I agree.
  20. DPA 4017B Vs CMIT 5U

    Schoeps refused to produce an interference tube design mic for decades as they are microphone purists and believed the principle to be somewhat flawed. As more and more people were using MK41 capsules in production sound, more and more people asked for an interference tube by Schoeps, so they eventually gave in and made one (and a very good one at that). But I'm sure they could have made one much earlier on, they just didn't want to.
  21. Schoeps CMR vs. Colette cable

    CMR is great. I think someone once posted a picture of a wireless boom with it. Tiniest boom mic ever. Adapting to 48V might somewhat degrade the signal (should you want to use it that way), but probably only in studio sound quality terms, so I don't think that would be noticable in location sound situations.
  22. Production Mix Structure

    When I did dialogue editing in post and there was a second boom, I often used that to add room for smoothing out transitions. Also, when you wanna replace not-so-optimal sound on a wide shot and use a closeup's audio for that, a real closeup boom sound can sound "wrong" or distracting (i.e. too close), so in those instances, an ambience mic, like Tom described, can be quite useful to add room in post/edit (though I have also used lav tracks of off talent for that at times too, but that's not as pretty). I have also had a sound-savvy editor specifically request an ambience mic for that purpose. I wouldn't completely discard consistency in mixing. Maybe better call it perspective, as a wide shot doesn't need to, or shouldn't sound exactly like a CU, more like what Crew said, it should sound like it looks. My direct advice to you James: Always have two booms on the scene. Second boom takes off lines or at least ambience. That second boom track may well turn out to be very useful later. Also you probably won't need to use lots of lavs, which will make actors happy, and also yourself as the mixer, as double boom is the cream of the crop of production sound mixing, and you might not get the chance to try that process so often.
  23. Safdie Brothers Talk About Audio on 'Good Time'

    I watched Good Time on a festival a few days ago. Not too bad a movie but maybe slightly overrated, a bit retro 90s style, apparently made with a very low budget. Since 95% of the movie consists of closeups, doing sound must have been a fun job on this one. +1 LMAO
  24. MixPre-6 – worth it for this beginner?

    For the Rodelink you need line of sight. Going through walls or objects is unreliable, as well as exteriors to some extent. A G2/3 is more forgiving in these respects. If you had problems with yours maybe you had interference. I also disliked the self noise of the Rodlink that sounds too apparent to my ears, while I find the G2/G3 self noise less noticeable. Used G2/3 are widely available and cheap, plus you can get the antenna mod to improve range. And later once you get better wireless you can use them for cam hops or IFB. And there's a reason why nobody (yes, I mean nobody) uses the Rodelinks. Don't try to prove me wrong, nobody uses them period. So, no-brainer IMO.
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