Henchman

Exactly. I think they're an incredible option for indie filmmakers.

Nope, that was cloth noise. BTW, I mix dialog for a living, and there's nothing wrong with the system whatsoever. I have gotten absolutely terrible dialog to mix, that was recorded using top of the line equipment

Why? I have no problem with them from a drama perspective. This is the Stephen King short I just finished. Using the Deity Connect system. As well as my Vlog I just started shooting in my garage. I think the Deity is an amazing product. Especially for low/no budget filmmakers. I'll be shooting a feature once this virus blows over, using the Deity connects. Password for the short is "Festival" https://vimeo.com/376447791/721561e7be https://vimeo.com/400510224

One of these, but without the cage

He set his budget himself. $1k, for everything. What is so hard to understand about that?

Did you take note if his $1k budget. The schoeps alone is over $2k and the M2D2 another $1400. Not really helpful information. Also, buy as much used as you can. I bought a complete, nice film city shoulder rig with matte box (not one if those plastic neewer ones) and really nice follow focus for $66

Did you take note if his $1k budget. The schoeps alone is over $2k and the M2D2 another $1400. Not really helpful information.

I'd look for a used Zoom F4, and a tentacle sync. You can jam sync timecode from the Zoom f4, and record timecode on track one of your camera, and since its run. and gun, you'll probably have it in a bag around your neck , and you could record the mix track from the zoom on channel 2 of the camera. If you only need one wireless lav, the saramonic uwmic9 actually works great, and because the single transmitter system comes with a dual receiver, you can always add a 2nd transmitter. I'd suggest replacing the lavs it comes with, with the deity v-lav, which sounds re ally good. For a smaller boom, I'd again suggest a Deity D3. The regular one, not the pro.

I actually get a bit of a kick out of the comments regarding noise floor and products like the Zoom f8 and f4. As I know, as a Re-recording mixer that deals with recorded dialog everyday, that the ambient noise these days on especially location shoots, and even "sets" makes the equipment noise floor irrelevant. Btw, the Deity lavs sound better than the Oscar Sound Tech at less than half the price.

My Deity connect system arrived yesterday. I'll be doing an indepth test this weekend. I did a quick test last night, that included me walking from my livingroom, down a hall, through a bedroom, and into my garage, with no dropouts. That's 2 doors, and three walls from receiver to transmitter. Receiver in the bag with the F4. I think this is an amazing setup so far for indie filmmakers, who will be boomin themselves g with the recorder around their neck.

Yes, Robert mixed The Daycare. He used all his gear. And yes, my wife and I wrote a musical based on music by the Clash called "London Calling '. We have an option deal on the table right now.

It ended up being all Lav, because I suck as a boom op. I had the boom too far away. 😁 I am doing these shorts to hone my skills in sound mixing, directing, cinematography and picture editing, in preparation for a feature I'm going to be making next year. This is the first short I directed last year.

Well, I wanted to chime in regarding the Deity lav mics. Besides being a Re-recording mixer, I've gotten into actual filmmaking myself now. I'm in the process of directing a feature next year. To educate myself , I've been shooting short films. For this , I wanted a budget sound mixer package. I ended up with a Zoom F4, Deity D3, and 2 Deity V-Lav mics, and a MOVO Mic 80. I tried on Oscar tech, and was quite unimpressed. The V-Lav sounds better IMO. I'll probably replace the MOVO, it's ok. Not great, but certainly usable for low/no budget work. Here's the first short we shot last weekend using setup. https://youtu.be/PlpHJJb2XJ4

The Go is completely useless, , as it starts dropping out within a few feet the minute you turn around and lose line of sight.

P This isn't about the DAW. It's about the fact that reaper does not timestamp the sound files with SMPTE timecode. I will check it out. It did come up, but I missed the part about it generating timecode as well. I'll check it out. Why this even is an option, instead of a standard feature is puzzling to me.

Is there a way to wirelessy control the record function. Something small, with physical buttons.

Again, who said anything about a concert shoot, or high end commercial shoot?

I take it you missed the part where I said "budget filmmakers" As far as video cameras staying in synch all day, I've never really seen a case where a camera was run all day. You do understand this is geared towards people using dslrs cameras liKe the blackmagic cinema camera, right? Also, we recorded our musical 2 years ago. I recorded wild into my 2010 macbook pro. I think in had to do 3 cuts in the timeline to resynch. In an hour and a half show. I don't see what the difference is between this, and buying Tentaclesync devices. Furthermore,, Reaper is useless as it doesn't timestamps teh wave files, making it useless to auto synch in resolve.

I did a ton of googling trying to find out how to set up multiple cameras and record multi mics to a separate recorder , that were all recording the same timecode that could be used to synch everything easily and automatically, that didn't require spending close to $1k on hardware.Why I couldn't find a single post describing the following very simple, and cost effective solution, that I would think most budget filmmakers would have figured out long ago, is confounding to meIt's quite easy.You will need the following:A computer with multitrack software. (Free version of Protools)A multichannel interface.Long, balanced 1/4" cables. (make your own) And a copy of the Horae software that costs $75https://sononum.net/horae If I could find a software app that just generates LTC out of an audio output , there's a free solution, that's not as elegant as Horea.The beauty of horea is that it allows you to set up multiple LTC analog ouputs, as well as internal MTC streams.So, you plug your mics into the interface. Set your DAW to synch to midi time codeFor protools do the following:Launch Audio MIDI Setup under /Applications/Utilities.Open the MIDI window.Double-click on the IAC Driver icon.Make sure Device is online is checked.If there are no ports listed, click on the + button to add one.In Pro Tools:Go to Setup > Peripherals. In the Synchronization tab, set the MTC Reader Port to the IAC bus you created.Select Options > Transport Online, or click on the Online button in the Transport window.In Horea you can create multiple LTC sends to your various outputs on your audio interface.So, for 2 cameras, you create 2. Plug the respective outputs into the respective inputs of each camera, Now you can start the generator running and let it run all day and simply record. On pro tools keep it on quick punch. And you can just punch in and out for every take.Now, it's very easy to synch a days worth of recording in resolve at pretty much the click of a button.

I don't have to ask them. It's me. I'm the one making the short, so I need to know what it's going to cost to hire someone.

Yes, it's funded. None of that "I'll give you a credit, and points on the tail end" nonsense. This will be a very disciplined, planned out shoot, with proper shot-lists, that I'll be going over with the DP before the day of filming. No "Figure it out as we go along".

I'm doing a 2 day short film SHOOT on a weekend in August. I'm putting together the budget. What is the average day rate. 3 actors. Need to be laved and boomed.

He's an American. I tried to get as many local british actors as I could.

Half the cast are Brits

In the meantime, here's a link to some of the scenes form the performance we recorded using the GTD Audio wireless system using the $30 JK J-043 Lavs. Wish i had set the transmitters to -10