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About dfisk

  • Rank
    Supreme ruler of Space, Time, and Dimension
  • Birthday January 25

Profile Information

  • Location
    United States
  • Interested in Sound for Picture
  • About
    Audio Product Specialist at DVeStore. Previous experience in video game sound design, television sound design, and feature film sound design. Former product specialist at Coffey Sound. Expert knowledge of microphones, recorders, and workflow.
  1. I was wondering about this, actually. I currently have my MixPre-6 connected to my Sony a6500 camera via HDMI, and it remote fires the MixPre-6 when I go into record on the camera, BUT, I'm going to be getting an external LCD monitor so I can easily monitor video (I shoot my youtube videos by myself most of the time) and I'd like to be able to use the monitor and the HDMI functionality of the MixPre-6 at the same. I'm seeing a bunch of HDMI switchers online, but not a hub in the "USB Hub" sense of the word.
  2. Manufacturer photos are typically done to highlight what a product looks like, and don't necessarily reflect the way something will be used (Proof: I used to be a manufacturer and have taken loads of product photos). The optimal location of a mic in a windshield is having it be in the exact center of the windshield. The effectiveness of a windshield is the amount of dead air around the microphone, so you don't want it really far up in the windshield or really far back or too much off to one side. You want it smack dab in the middle. Covering up some of the tube slots isn't going to have a real big negative effect on the mic.
  3. On a side note building off of what Nick said: I'm a big fan of using timecode boxes that are all jammed from one source (a separate master timecode generator or the audio recorder) and then those boxes live on the cameras. The cameras are set to external jam. If you have one on your audio recorder it is also set to external jam. This helps eliminate TC drift and allows everything to have as accurate a start timecode on the files as possible. It's even better if you can wirelessly jam everything all at once. The thing is, doing it this way can cost money, but it can be a life saver....as long as the person in charge of the TC knows what they are doing. It isn't that hard. When I was doing freelance work I had people let me be the "timecode god". They told me what frame rate we were rolling at, and I made sure everything was on the same page. Never had an issue.
  4. You can use the direct outs of any mixer (that has them) to then go into the MixPre-10T. You can route anything you want to the outputs of the 10T as well, so you can send a return to the mixer and monitor it that way. I could see it getting a little clumsy, though. You'd have to be careful to keep track of what you have routed to the L+R tracks on the MP-10T. It doesn't have infinite routing. The inputs go to their tracks, and then you can pan those tracks left, center, or right, and that's it. Like I said about the outputs, you can send anything you want to the left or right. So, this means you need to make sure you assign what you want to the L and R on the MP-10T. You'd also need to make sure you have your levels calibrated properly. Even then, the mic pres are so good in the MixPre recorders I'd want to put something really nice in front of it, and that won't be cheap.
  5. Just know that it won't work with every single camera that has an HDMI port on it. The camera manufacturers haven't standardized this sort of thing. ALSO, if you try to daisy chain devices, like going from a camera to an Atomos, and then to your recorder, it can create some weirdness....at least that's what one customer reported to me recently.
  6. Tripod for Ambience gathering

    Are you talking about a regular camera tripod? I have a Benro that I use. It's pretty nice for what I need. It isn't super heavy so I can take it places and not be weighed down. Easy to set up.
  7. Let me know if you want to demo it. You can use my MP-10t to play with.
  8. I cover that here in a video series I did on the MixPre-3/6:
  9. I have one so good I can't advertise it. You'll need to contact me: davef@dvestore.com, or call me 360-653-7063
  10. K-Tek has been hard at work on a bag for the Sound Devices MixPre-3 and MixPre-6. True to K-Tek fashion, this isn't just a regular ol' bag. This thing is very well thought out, as it has multiple uses depending on the type of work you are doing.
  11. I downloaded the demo of the latest resolve a month or so ago and was experimenting with it just a little bit, but never had the chance to get into the audio side of thing (I didn't need to since I'm running a bunch of other things like Premiere, Pro Tools, Audition...). I haven't had the time to sit down and learn Resolve fully, but it looks intriguing. I've never used fairlight, so I was interested in at least in learning the audio side of resolve. I'm always up for learning new things. If it really does everything they claim and does them well I could see incorporating that into my workflow for the videos that I do, but I'll admit the stuff I do is VERY simple compared to a TV show or feature.
  12. LA movie theatres

    When I lived in LA I always like the sound in the Chinese theater (the main theater). I saw a few movies in there. I saw a couple in the Cinerama Dome, and the sound bounced around, so I don't care for that place. I've only ever been in a few theaters, though, so I'm sure there are some great ones there I don't know about.