Matthias Richter

one would loose the function of privat line (privat talk) to the boom. I even sometimes use that function on the 3rd headphone out which is for the director etc. to call a "we´ve got a plane coming" or smthing mid take. then its up to the director to call cut or keep on going

feeding different people with different sources definitely can become a challange. I never understood these A/B C/D switches linked to the pan. That means you can`t feed bus A with a mix and use B-C for solo tracks (when working with a 4track machine like the 744). They have changed that with V2 of the 208. There is also significant crosstalk into the Aux bus meaning you can`t use it for PB purposes (the dialogue will bleed into your PA system). But with 4+2 busses, 8 direct outs pre fade balanced, 8 additional direct outs post fade, another 8 insert points useable as direct outs unbalanced pre fade and 4 digital outs of the main busses I feel rather well equiped even in this day and age ... Matthias

no one tried Adam Hall? http://www.adamhall.com/en/Rack_cradler_19_1_U_with_drawerslide.html although no locking mechanism it weighs not that heavy 3.7kg / 8.4lb (SKB 4.38kg / 9.64lb)

for an emergency use it will work for sure. But I was thinking about a regular autoconform of the production sound mix used in avid-editorial with the isos from BR merged together in ProTools in an automized process

if I read the ProTools production sound reference guide it shows you need a bit more than that. Anyone from post here to confirm it does work that easy? ProTools.pdf

how was your workflow when using BR for isos and 744 for mix? what metadata were used to sync the 744 files with BR files later in sound post? I guess you had the same TC on both medias? Maybe named the files the same too? Was it easy for post to handle these files from 2 different recorders? What about post conform (avid works with the mix, ProTools wants isos)? I´m asking cause I might wanna fill the gap between my 744 and the not yet existing Fusion with BR ... Cheers, Matthias

I have asked this in another thread but here I go again: can I use the QRX100 as a replacement for the IFB100? Connect the QRX to the Fusion and control gain settings on the TX with the Fusion knobs? Best, Matthias

you gotta loosen the screws on the side panels to reduce the tension. After that you can pull the channel strip. Matthias

I still wonder if one needs a IFB100 connected to a Deva/Fusion to control gain settings on the TRX by using the Fusion`s fader knobs or will it be possible to hook up a QRX100 in the same way and no need of an additional IFB transmitter? Matthias

even more pain that changing the scene name with a 744 doesn`t effect the meta data which will be read by editing software. One still needs to open the files with Waveagent to correct these datas.

Audacity indeed. Like you said a good app for those little PB situations - and free. Matthias

easy. It was just an idea of a work around.

here is a small workaround: before handing off the CF-card I erease it and then "copy last 24h". It doesn`t take that long (on scripted shoots) and you will get the corrected file names on the cf card too. Still need to hook up to waveagent though and change meta data according to the corrected file names. Matthias

when using the MK41 with GVC in a INV7 I hear much more handling noise than from my CMIT in a Cinela. Not so much from bad handling but just plain body / arm shakes. Hard to describe but even in a totaly steady scene without any movement I hear this little inner-body moves from the boom op. And yes I have a 80Hz roll off engaged. Matthias

Glenn, with the IFB board build into the QRX is it possible to change gain settings and freq on the TRX using the QRX or do we still need the ifb 100? I`m waiting (and collecting money) for the QRX and the LT tx ... Matthias

this audio sample reminds me when I was using audio 2020 for the boom. It always was searching for the one tx with less companding sounds than the others. And I couldn`t believe that all the other guys where using this system without complaining. Now that I use Zaxcoms TRX 900 + Areitec 48V those problems are not existend any longer. I still notice slightly higher hiss than going hard. So whenever it is a really quiet set I still prefer to use a cable. But 90% is wireless boom for me. With a two man team it is a great advantage not to worry bout the cable. Matthias

the scene was so unpredictable that two hand mixing would have effected the screaming to much. The two actors had the whispering intensive dialogue but where responding very loud to someone calling from upstairs. I tried it first with one boom only and thought that my boom op and my gain riding would be enough but after the rehearsal I felt that we had to go too much for safety and lost too much of this intense wispering. Although they were wired I wanted proper boomed sound all the way through the scene. I listened back to the single tracks after take 1 to check that the screaming track was clean. Cause listening to both mics during the take I couldn`t tell if it was overloaded. And it was both on TRX900 with 48V. That made it even more difficult (no Zaxnet yet). I think the only other option would have been to go hardwired with one mic and setting the gain for the screaming. Post would have needed to bring up the whispering heavily but with 24bit it probably would have been alright.

forgot to mention they were laved (for the sep wide shot)

http://www.neutrik.com/content/newsupdates/news_detail.aspx?id=200a_464464379 Matthias

I might have posted this question earlier on in the wrong section. Again looking for your ideas: How do you guys handle scenes where it really goes from whispering to shouting back and force? I`m talking really extrem levels and rather unpredictable. I just finished a shoot with a scene like that and only managed to get it by using two mics. One CMIT for the whispering and a MK41 for the screaming in 1meter distance. All shot in a very echoy basement. To get the heavy breathing of one actor just in between the lines when the other actress was screaming to someone upstairs I think post can just grab the good pieces and kill the overloaded parts. Any other ideas? On some films lately I was watching some similar scenes and it all sounded smooth. Is adjusting for the screaming and have the whispering at really loooow level a better technique? But even then it is difficult for the boom op to react accordingly to the actors. With a very big CU one wants to have these breathing sounds really up front but you never know at what point the other one will start screaming. What do you think? Matthias

just found these files and the Zaxcom 992 just sounded like my combination of TRX900 and Areitec 48V supply. Even the hiss sounded the same (whispering) ... less hiss on the SD+Lectro version I have to admit. Btw. how do you guys handle scenes where it really goes from whispering to shouting back and force? I`m talking really extrem levels and rather unpredictable. I just finished a shoot with a scene like that and only managed to get it by using two mics. One CMIT for the whispering and a MK41 for the screaming in 1meter distance. All shot in a very echoy basement. To get the heavy breathing of one actor just in between the lines when the other actress was screaming to someone upstairs I think post can just grab the good pieces and kill the overloaded parts. Any other ideas? On some films lately I was watching some similar scenes and it all sounded smooth. Is adjusting for the screaming and have the whispering at really loooow level a better technique? But even then it is difficult for the boom op to react accordingly to the actors. With a very big CU one wants to have these breathing sounds really up front but you never know at what point the other one will start screaming. Tell me stories ... Matthias

got a brand new CUB wired for the TRX and it sounds really good. A bit hard but that might help the voice to get some punch. No hiss from RFI at all (unlike my DPA 4063). Best, Matthias

that makes sense. But would have been a nice add feature ... It´s now confirmed by Glenn that the output is filtered according to the block one has choosen. And of course the modulus should transmit NOT in the same block as your wireless. Matthias

I tried to use the antenna output of the Zaxcom RX4900 which is a loop through of the attached shark fins but with poor results. Anyone used the same rx antennas for audio and TV? Matthias

I bought the 25dB version a while ago but had no scene (car rig e.g.) since where I would have needed them. I just listened back to some files I recorded on a noisy street and I guess that they would have helped me isolating from the street noise. It`s nothing you wanna wear for a long period though as the pressure on your head is quite powerful. Matthias