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About daniel

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    Hero Member

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  • Location
    United Kingdom
  • Interested in Sound for Picture
  • About
    london based broadcast sound op.

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3,114 profile views
  1. Production Mix Structure

    This is indeed a good thread. Thinking about how I've arrange tracks over the years, the ability to have isos and dial delay on an input changed the way I worked in this respect. The classic 2 track split (often recorded on camera only), RMs 1 side and boom the other, allowed post to choose the boom as a primary source (with some back up from RMs) or use the RMs as the primary and they then manage the issues of adding boom for 'air'/'perspective'. I would monitor stereo, LR. If a mono mix was requested, it felt safer to hang the boom over my shoulder and just raise the boom fader so the ambience was just evident over the noise floor of the RMs. This would reduce the chance of phasing issues but I would loose the back up of having a boom over the top in case a RM got messy. With delays and isos I feel comfortable with pointing the boom at the source because I can reduce phasing with delays (while having an isos for safety) and maintain an on mic sound for the boom. For some of the stuff I do at the moment. I put a mono mix of RMs and boom on L. Then a mix, minus the boom on R. I monitor in mono (LR, like it will sound if they put both on timeline; L, for the 'airy' mix and picture perspective, R for 'dry' and possible use off screen. Probably not possible with current hardware but it would be interesting to see if time delays could be automated in the future. Prior to the 'delays', I quite liked the use of Lectro 411 RX because the 3ms latency worked well with a 'loose' boom.
  2. How to hide a Sennheiser ME 2 on talent

    Agreed, you wont get to change much of what wardrobe will do but it's helpful to be forewarned of how you might try to hide belt pack and mic. Make contact as soon as you can but get the details/pics towards the end of pre production (or in the days running up to the scene) as things change on the way.
  3. Update on the upcoming Tentacle Sync-E

    Wow, so for nearly $2000 i can have $600 dollars worth of 2.4ghz audio and a TC O/P in the 1 box. Seriously, I think there has got to be a middle ground between velcro-ing 2 cheap (but effective $300) boxes together and $2000 system (where I pay quite a lot extra for functionality I don't need - I.e. zaxnet remote control of a wireless system I don't have, need or want). If I'm not hardwired to camera, most of my jobs fall into the category of needing a scratch track and/or a TC feed. A cost effective 1 box (each end) solution which can do either or both would be a really nice thing. For me, the only reason why you would go with the IFB+ERX solution is if you already have, or intend to buy into more of the zax system (and I don't). The latest range of TC boxes (TCB, Ambient, Betso) offer more functionality (than previous TC systems and the ERX solution) for the extra departments/crew on bigger shoots re logging, sharing metadata etc. I think for anything requiring extensive TC distribution these systems are a no-brainer as they are relatively cheap and the features you pay for are available no matter what radio mic or recorder system you choose to use. However most of my clients don't have the bods on set to make the most of this extended functionality either. I think this box will happen at some point because generating TC has got a lot cheaper and sharing a housing, a battery and possibly a connector with an audio component is clearly viable (ERX).
  4. Update on the upcoming Tentacle Sync-E

    True. Which makes it even more frustrating no1 has really combined 1 with a method of sending a scratch audio track. Eg something like a Rode link with a TC O/P. Tentacle is small enough to velcro to a RX Rode but i would prefer a 1 box solution.
  5. NEW: Audio Ltd - DDX1010

    Thanks Vas. Interesting. Do you know how time code is managed? Ie. Setting several TX to the same TC.
  6. NEW: Audio Ltd - DDX1010

    Simon, is the BT ios/droid app the only way to remote control TX or is remote control possible through the RX? With similar range or better?
  7. Wonder what 'Small 3-pin connector' they will be using.
  8. How to hide a Sennheiser ME 2 on talent

    Strategically, you could try to get camera and wardrobe departments onside for a better lav. If you're OMBing it wont be easy adjusting lav placement, getting something to sound good enough and not show will need some co-operation form wardrobe, if not hands on assistance. You could say the whole thing comes down to camera and wardrobe, as in 1 necessitates the use of lavs and the other makes it tricky.
  9. Its probably not the neatest shape to hide (or in any particularly way important) but I quite like the industrial design of this TX.
  10. NEW: Audio Ltd - DDX1010

    I want 2 ;-))
  11. NEW: Audio Ltd - DDX1010

    I think the battery choice is quite significant in reducing size. They can also dump the screen (as they did for 2040 minitx), no need for P48, internalise the antenna connector (or even integrate antenna altogether!). How short a battery life would be acceptable to create the smallest TX? Mipro say they can run their digital TX for 14 hours on 1 ICR18500 (although its not made their TX very small).
  12. Portable RX with wifi, so remote app can control directly (without need for router) - a bit like AL's A10 app. The Np-BX1 (small camera) battery is an interesting development as well, very cheap and slightly more capacity than the 1 for SSM(?).
  13. http://cvp.com/index.php?t=product/sony_dwt-b03r_digital_transmitter
  14. How to hide a Sennheiser ME 2 on talent

    If the G3 is yours, buy a better capsule for it - when you upgrade the wireless you get another plug put on the end. If the G3 is their's, recommend with the current capsule, it may be useful for a 'guide track' (for looping) but wont cut well with the vastly superior sound of the 8060 (like cutting between picture from an S4/Alexa combo and an iphone 4) and therefore they'll need sensible 'coverage' of all dialogue. If they've spent a lot (all) of their (low) budget on tracking, gimbals, jibs, cranes, multi cameras etc (and fully on board with their DOPs 'vision' for the project :-), they may feel encumbered or restrained by the need to have all dialogue covered in boom-able shots (if the DOP has done any scripted drama, maybe they speak up for you at this point ). At the end of the day, the only reason we have radio mics is to work with difficult shots, locations and shooting styles in the hope of saving production the expense of looping later. Put in your disclaimer gently and let them get on with it. And whatever you do, don't let the wire get damaged within a couple of feet of the capsule or they will have to replace it (whether they like it or not).