pkautzsch

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About pkautzsch

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    Hero Member
  • Birthday 02/19/1980

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    http://www.peter-kautzsch.com/

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  • Location
    Munich, Germany
  • About
    A few features, a few documentaries, some commercials, and a bit of classical music production - still learning and working my way up.

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  1. I'd probably only have the radio on auto, so the boom's more natural background always is on. If I hear "phasing" from boom + lav, I can always turn one of them down manually. As RPSharman just wrote, automixing can't adjust levels. That's why I think SD's term "Mix Assist" is better suited to production sound use. It saves me from having to exactly time when to open or close an actor's mic when that actor's un-rehearsed performance is different each take. I can concentrate on adjusting levels. The more "proper" a shoot is going, the less lavs and the less automixing is needed.
  2. ... and therefore I'd 2nd the advice to have a boom mic with good reach that enables you to pick out your source from the crowd - plus on-camera mic, and something with a wider pattern for general ambience. Don't rely on wireless hops (neither being allowed to use them nor being able to make them work reliably), and don't tie yourself to camera with a cable. Use properly configured and jammed TC boxes - in the general hectics on such an event you want to cut down on things to take care of.
  3. One is deemed award worthy for a certain set of features, the other for another set of features. Now if someone fitted the zaxcom functionality into a belt pack of SSM size and power consumption, working at 48 kHz.
  4. Ordered a pair last November. Jan himself handled the order really fast, was very friendly in his e-mails, and threw in a pouch too. Free shipping at least to EU! Now after a few weeks using them, I'll say they've always given me great range, and setting the gain is easy as well as secure. They feed an Audio Ltd. RF-DA that splits to DX2 and SRb units. My old passive fins now transmit comteks when farther away from set.
  5. +1 to lack of set protocol. Some people seem to think that actors' performance was impaired by yelling out "roll sound" or "cut". Well you don't need to yell, it just needs to be loud enough so all involved can hear it, huh? IME that usually ends up with actors complaining that they don't know if it's a rehearsal or a take, and sometimes don't even know when to start performing - because nobody said "action". I've found that I really need my monitor screen on discipline-lacking sets. You have the rec/standby indicator (1), frame rate, and card/clip number (2) displayed, always correct since it's what the camera is actually set to, and more than once I've discreetly asked AC if it was on purpose that cam was still rolling. -------------- (1) that's basically that portable tally light (2) on discipline-lacking sets usually there's also a lack of proper slating. Naming my files so they match cam card/clip numbers then.
  6. Probably your inputs are set to line level. IIRC it's a hardware switch on the small 7 series recorders. You set the gain range (normal/low) in the menu, as the manual tells you. Select one, and that's the one you'll be using.
  7. Mike, care to share your source?
  8. Looks like you and the lab can decide what the editors will have to work with. Once it's all int the computer, it's no big deal what framerate you choose, and here in Europe "straight" 24 or 25 fps is the usual workflow. To us, the choice would be obvious since it doesn't involve any speed changes. What's the end product supposed to run at? 24 or 23.98?
  9. You always have to take a politician's pre-election promises with a grain of salt, why does everyone think this is an exception?
  10. Indeed, the mic is being held at the very end by that strange-looking solid mic clip. Looking closely, the lyres only hold the pair of rods that on the other end has the actual mic clip. The same principle, just with a nicer design IMHO, has been in use for decades in the original Neumann KMR suspensions. The advantage of this concept is that no part of the interference tube ports is blocked by a mic clip - with those tiny Rycote clips this might rather be a theoretical issue however. A foam windscreen would indeed touch the lyres. To enable windscreen use, the lyres would have to be upside down like in the "shaver recorder" suspensions. However, both the "INV-6 with grey lyres" solution (in my case with CMC 641) and the "cut into the foam windscreen for use with INV-7" approach (in my case with KMR 81 and MKH 416) have successfully been reality tested. So why bother.
  11. I do rent out stuff to people I know, though I won't tear my main setup apart. It's just too much hassle to re-configure and re-wire everything. So it's mostly a mic, a boom, the small ENG bag, or my backup recorder. If I need something that doesn't justify buying, I call my favourite rental house.
  12. On my cart, I need one 5400 mAh NP-1 for a normal shooting day to power the Smartview Duo and a LED lamp. About 9 hrs of actual power-on time.
  13. You *can* create a cardioid that way, yes. The more common way, however, is to have one capsule that has an acoustic "delay line" built in a way that sound from the front hits the diaphragm's rear later than its front (large pressure gradient --> large diaphragm motion), and sound from behind reaches both sides at the same time and with same polarity (no pressure gradient --> no diaphragm motion - same as 90° on a fig-8) Without the acoustic delay line you'd get a fig-8, with a closed back you get an omni.
  14. It's exactly the other way round. The cardioids' fronts make up the front and rear lobe of the fig-8, and the sides of the cardioids cancel each other out. Sound that hits both cardioids from 90° is equally loud in both, but one of them has polarity reversed and thus the sound will cancel itself out. Mixing the two cardioids at different levels enables you to continuously vary the pattern from cardioid to fig-8 - or from cardioid to omni if you don't reverse one cardioid's polarity. This is how the MKH 800 TWIN basically works. Switchable (dual-diaphragm) multipattern mics, like TLM 170, create their patterns not by mixing the signals in different ways, but by different polarization voltages for each diaphragm.
  15. Hair on this guy could be difficult (depending on how much that forelock is supposed to move) but over his ear should work fine, hiding behind the beard. Not the greatest solution soundwise, but rather have it rustle free and rely on post EQ than have rustle all the time. We don't know about the back of his head, though, regarding hiding of mic cable, and about how he's gonna move / if cam will see his back at all.