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pkautzsch

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Everything posted by pkautzsch

  1. I guess that's some extra hours to be billed on first day of shooting, then.
  2. Block 31 (793 - 819 MHz) is *not* allowed in Germany and Austria anymore. Don't know about many other EU states, but here's a good overview initiated by a fellow JWS member. https://docs.google.com/spreadsheets/d/1vPn_iMiK1ux6aWtnh5fGphATnNj-dBnVtfDW8ZaE9LE/edit?pref=2&pli=1#gid=0
  3. www.crew-united.com has a classifieds section too. And some of the larger rental/dealers will post FS ads on their websites, such as Kortwich (www.filmtontechnik.de). Don't know about any non-German sites except for BB List already mentioned.
  4. Sorry, maybe I just don't get it, but that's exactly the design that works flawlessly in our setups with normally tightened screws. The screws themselves also make a solid connection (vibration path) between bottom and top part when tightened. The actual vibration reduction is done by the lyres - else, a INV-7 with no elastic parts apart from the lyres themselves would have the same LF handling noise issue, wouldn't it? Maybe something with the screws? Cable? - But if you loosen them, the whole thing's gonna rattle. I remember Ambient booms to be more susceptible to handling noise, but we use Panamics and K-Teks most of the time. What requires you to do any handling on the boom (except from swinging) during dialog?
  5. So far only had LF issues with baskets that weren't fully tightened, or with loose end caps. So kaybe a thin strip of rubber or whatever, placed in the "rail" the basket slips onto, helps. Oh, we did have an issue with a Connbox cable that touched the back cap. Moved the whole lyre/mic/connector assembly forward, problem solved.
  6. Temperature is not an issue with Neumanns. And I've not yet encountered trouble with humid conditions, though in pouring rain I tend towards an 816 anyway for better dialog/rain ratio. The change between a 416 and a 81 in reverberant rooms, especially smaller rooms with low-mid trouble, is enormous. A 416 tends to exaggerate low-mid trouble, the 81 is quite clean in its off-axis response, and in some cases has won over a 185 or 641 for me. It doesn't, however, reject surrounding bright noises as efficiently as a 416. Indoors, we use a 416 regularly for whispering scenes. The small treble boosted sweet spot enhances the whispering effect without enhancing crew rustle, and when there is no low-mid content in the dialog, there can't be a low-mid room sound issue.
  7. Legally yes, but practically I doubt that a 2.4 GHz system would work everywhere. Too much Wifi stuff going on in most urban areas, and especially in typical locations for corporate video shoots (hotels, office buildings, ...).
  8. Re wireless: I would not go for one dual Rx in such a setup. Yes it's convenient but on case of failure you lose both channels. Always have a backup. Honestly for that kind of use I'd go for two G3 kits. Wider tuning range than Lectro, easy to use, range is good enough for what's basically a simple Eng shoot. They should hire a professional for everything that needs more.
  9. We use a Tentacle with 9.2 on an IPhone 6s with no hassle. It works just fine. Must be a settings issue.
  10. Remember, we're talking ENG here. You need to be fast and small footprint. I wouldn't take an 816 on an ENG shoot. In my limited ENG experience, I found that with a longer boom I always could get the mic close to the subject, even when a bunch of other crews crowded around the talent. Most seem to use booms no longer than 6ft, mine was a 13ft vdB.
  11. Nice heh Now if there was an 8ch version of this...
  12. They are nice to deal with, and even had an employee deliver a part directly to my door (being based in Munich area) to save on shipping.
  13. Found the German distributor a few minutes after I posted, but then forgot to re-post. I had been kind of blind while browsing K-Tek's website. Germany: http://www.pure4c.com
  14. he label on the cam's side says "4K 2". One *could* assume they are shooting with two cameras, and one gun of course.
  15. +1 to Reaper being a fantastic DAW for music. It can do user-configurable multichannel audio, not just 5.1 but other formats as well. All plugin settings can be automated. Of all DAWs, it comes closest to Samplitude's great feature of source/destination editing. Reaper needs two project tabs and some user-configured shortcuts for that to be quick, and then it's basically copy/paste of time selections between two projects. Has made music editing about 5 times quicker for me when switching over from Nuendo 2 and PT 8. Full VST support, and a heap of free good-sounding and intuitive "standard" plugins like EQ. I haven't tried out any of the video post production related features either, so can't comment.
  16. On our last shoot we had both Alexa XT and Mini. The first funny thing we found out was that for the Mini to jam to external TC the camera had to be set to "regen" (not "preset", the only other option), even when removing the sync box after jamming. The XT does, however, *not* take external TC when set to "regen", as it has the standard Alexa menu options (internal/jam sync, regen, preset IIRC) and will need to be set to internal/jam sync. The second funny thing we found out was that the Mini sometimes held TC well over a whole day, sometimes lost TC on battery change, and sometimes even on reboot - though the Sound Department didn't always know why exactly they were rebooting the cam! No complaints from post reached us, though.
  17. With eneloops and other "LSD" (Low Self Discharge) technology batteries, you need to re-learn the battery meter display. My experience: They will, as has been stated here, never show as "full" but always with the top segment missing. With all our TX units (Lectro SMb, Audio En2 TXP, and Sennheiser G3 for IFB) the battery should be changed when the display shows 50% (or one segment in the G3s). With Sankens or B6 a 2100 mAh battery will safely power our TXs for half a day, we usually change after lunch. We use Varta "ready2use" batteries because they are cheaper than eneloops and can be bought about everywhere (at least in Germany). We do not use conventional (non-LSD) NiMH batteries for anything critical (including IFBs) anymore because self discharge has been an issue a few times. IMHO using non-rechargeable batteries for usual film set purposes is, with very few exceptions, a waste of money and environmental resources.
  18. IME, cardioids need very careful placement in a car. They tend to pick up too much window reflection, and even the expensive ones do add a strange color to that reflexion. Hypers are better. I've found Oktavas quite dark in comparison, the (more expensive) usual suspects Sennheiser, Schoeps, Neumann are cleaner. But I guess a bit of EQ can get you a long way, and probably most of the sound will come from the lavs.
  19. Today's office in the Bavarian Alps. One boom, one MKH 816. No gators.
  20. how about setting the Amira's system clock to a value way off actual time? That way if it jumps to internal it will show a TC value that's WAY off and therefore noticed more easily than an offset of only a few seconds.
  21. You might need a clean mono center channel from the ground for passes, I'd tend towards an 816 on pistol grip or short boom, following the car.
  22. Definitely have the song pre-produced and ready to be played back on set. If the scene has cuts, probably there will be shots of the dialog "without the band" - ie. with the band out of focus in the background. If useable dialog is required they'll have to mime for at least these shots. Maybe have low-profile earbuds for them to listen and mime in sync with playback. In the "band" shots they may want to play live or not, but I guess you need to hit a cymbal if you want it to swing and look like it's being hit. Band miking is a beast of its own. That question begs for an "It Depends" type of reply. Maybe use a few shotguns overhead just out of frame (might sound bad), maybe hide lavs somewhere (might sound bad), maybe visible stage mics are ok or even desired so you can set them up properly, maybe all instruments/amps have DI output (might sound bad) and you just need to have a mic for a singer. Strongly depends on what kind of band it is. If it's a one shot approach *and* the band needs to play live, well, lots of lavs for halfway useable dialog, but probably they'll loop it for performance "corrections" anyway.
  23. Lately I find it strongly depends on a day's vibes. Being closer to (director/continuity) video screens is great as long as things run smoothly. But if the creative heads get out of control, and communications from AD suffer, I prefer being out of the hot zone. Nobody listens to other departments' issues in such situations anyway, and we get all info we really need via a carefully placed boom mic, and the 7" screens on my cart.
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