filmfreak

Looking Great !!

Thanks for clarifying Jon, much appreciated. I do not have a 416 btw but love the Cs3e sound and I am very well aware of the MKH70 as I was booming with it for a fair amount of production days. There is no Cyclone for the 70 series ( including the 8070 ) as the trend for shotguns is moving towards more compact mics without the need of the long interference tube which made the more old school directional mics so special. Thanks for the time and attention to my post FF

Thanks for getting back to me Jon and Pkautzsch Jon, I am more inclined towards the 70 as it is a mic that I 've used for many production days and very I am happy with the way it sounds when used on the hands of someone that is aware of the mic's idiosyncrasies. Price is not a real concern as the few times I tried to buy at a lesser standard that what I usually do, I had to pay for the real staff afterwards and deal with the issue of the lesser product, thus making the "cheap" option actually an expensive one as I had to add it to the real product + inherit the problem the cheap one left behind. I 've bought all my mics new as they are such a crucial part of our work and it was never easy or without a lot of patience and perseverance. It makes someone wonder though, why a design that must be over 30 years old now is more than 1/3 of the price of the latest and greatest which must not be more than 10 years old. Pkautzsch, could you please define the rich "radio voice" technically ? I just don't get exactly what you mean. I am primarily interested in the use of the 70 indoors, as I 've heard how great it deals with hard reflections and there is always the possibility to have some parts of a wide shot with the 70. Post will most possibly grab the wireless tracks if they will use any wide production tracks but to my ears the area where the 70 is superior is in large reflective interiors. Why would you go for the 70 versus the 8070 in this case ( I get that you are talking about colouration but could you break it down a bit more ) ? I am not familiar with the 30 , 50 and 60 range even though I grew up with the 416. I was talking to Rycote recently and they are not recommending the Large Cyclone for the 70. The dimensions of the mic can make it fit physically in the Cyclone but even with the really stiff Lyres and 4 in total ( I proposed that ), there are still strong chances that the mic will act in a floppy manner especially on sudden swings. Having to use the mic ( 70 or 8070 ) in an old school windjammer is something I would really not like to do, I know that it will work and it has done so for many many years but I really want to avoid reverting to the old school Rycotes as I am not a fan of their long tubular shape. I will need to buy 2 mics so such an investment on mics which are not really used that much anymore is making me think hard on other possibilities. Being aware of the SuperCmits and the dedicated capsule they have just for room colouration is great but the noise floor of the Supers make them a no go for fast paced TV shows where post will not have time to curve out the high pitched characteristics of the Super and the tracks could turn out to be more of a problem than a solution. Hmmmm, choices, choices - I 'll give it a few more thoughts, still have a few weeks to decide which solution will be the most suitable.

Hi Jon, any particular reason on why you would reach out for the 70 versus the 8070 other than reach ? Checking the specs of both mics, even though the 8070 seems like an improved version of the 70 on paper, it is almost double in weight and even though the diameter is thinner it is indeed a longer mic than the 70. I am also wondering as to why the 70 is still over 30% more expensive than the 8070. What I am particularly interested in, is low frequency and standing waves handling from the capsule and interference tube it self ( not operator handling and rumble ), where I remember the 70 being superior to the 8070 on the aspect of early reflections in the low mid and low frequencies but its been some time since I had the chance to audition an A/B . Would you be able to check out both mics in a big reflective space and specifically on mid and low end reflections ? It is very difficult to find a professional having both mics in his artillery. Thank you for getting back to the thread, the silence was deafening !

Does anyone have actual on set experience with both mics ? Cons and pros based on their experience ?? It's kind of a rarity to find any users having experience in both mics and it looks like the 8070 hasn't managed to gather the niche film mixers that were fond of the 70. I 've heard A/B tests of both and have a fair amount of experience with the 70 but not the 8070. Even though the 8070 looks better on specs, I have to admit that I like the characteristics of the 70 over the 8070. Best FF

DPA & Saken lavs fit the bill ideally !

Thank you Christian !

Hi Christian Are you using the VCP-M1 ? There is no mention of a 9V powering possibility on the Kortwich site. All the Kortwich preamps seem to be powered only through a Hirose.

A week ago, I used 9 tracks for a 2 people scene and they were all absolutely essential and part of the work flow. 1 Boom mic per character ( pretty close physically but different performances and loudness levels, plus one of the characters is a character with special needs and each take is a unique delivery ) + personals. Inside a semi open shed of a big back garden, Stereo mic for ext atmos and Mono mic for traffic, each on a different end of the garden. Mix Left >> Booms Mix Right >> Wireless It aint wrong, if it sounds right

Thanks Constantin I 'll look into it and some other options I have in mind Appreciate your time and feedback Best

Cool, I was not aware of this accessory How long does the battery last and which would be it's charge up time Constantin ? Thank you

Thanks for the insight Constantin In my mind I was thinking that Digital preamps do not serve the sonic signature in the way that analogue do, especially since all the A/D is happening in the mic it self. Regarding the Neumann mobile unit, it's advantages include tweaking the limiter settings and a couple of more options which can be useful in extreme conditions, mot of the factory settings are best suited for the majority of circumstances. Best

I was wondering if anyone is familiar with digital preamps and the various unique sonic elements that different brands offer. I 've tried a number of different analogue preamps in my life and can audition the differences of an SSL preamp and a more commercial Tascam preamp as well as the transparency of a Sonosax one but I am not much experienced on digital preamps. Has anyone compared the digital preamp offerings from Schoeps, Lake People and Audio root ? I am particularly interested on compact preamp offerings rather than 1 U units. Is anyone aware of the current draw required for Digital Phantom Powering and whether DPP restricts on board batteries on compact units ( i.e. DPP needs an external power source ). Since A/D is always taking place in the mic with digital mics, do digital preamps play as an important role as analogue ones ? Best

Wow ! The X3 is truly the equivalent of a trusty film camera for sound recorders ...

Hands down the K-Tek is the best harness I 've used up to now, breathable and some levels up from the trusty Versaflex I 've been using for some years.

Loving the cat on the pics !

Thank you for getting back to me John and Wandering Ear The issue I was talking about was clearly RF from the HM, thank you for correcting me. I remember threads on RF interference on CNC5 units and there was even somebody offering mod upgrades from CNC5 to CNC6 units. Thanks for justifying that there are no issues with an HM and a CNC6 / MK41 combo. I will give the fanatics a call too. Best A

Is anyone using this combo with success ? No reason why it would not work, I 'll be using a Rycote WS4 suspensions and I will have to hire without the chance to test prior to that. Reason I am asking is that Schoeps and Lectros are known for introducing occasional whines and can't remember somebody discussing the specific setup here. Best

Thanks Craig Yet another useful insight to add in my bag of tricks

Hi and thanks for chiming in. Apologies for not making my self clear, it was literally hours before filming and the first time I 've been asked to deliver such a request which is usually a norm on video clips. As Philip correctly advised, did the Maths and doubled up the speed of the recording. What boggled me even further was playback at the same time. Minutes after posting here, the site went down too so I just went on using Twisted Wave which has saved me so many times, it's my bread and butter quick editing software for some years now- edited out the lines adding 3 pips at the beginning of the recording and everything worked out smoothly. End of Day 2 of a hectic paced shoot and off to get some rest before tomorrow's night shoot. Appreciate your time and feedback everybody. Best

Hey Vas I remember Simon Hayes saying at one point that the way he tackled this scene was to pre record the lines, ramp them down on a Nagra at 7 1/2 IPS and make the scene work in this way. My issue is different though. Even though we will be filking at 50 FPS, the shot will not be covered at the project base frame rate which will be 25 FPS but rather stay at 50 FPS. On top, the synch dialogue will need to be synched with the V.O. that for the specific shot will be played up at 50 FPS ( at 200% speed ). It's nuts but since he wants it I have to deliver and never been in the specific shoes before.

Greetings I am about to step into the oddest inquiry a director has asked me up to now. I need to record a guide V.O. first thing in the morning, ramp up it's speed at 50 FPS and then hand it over to the actress to listen back for 3-4 hours in order to be able to lip sync ( with her lines of course ! ) at 50 FPS when we 'll film her scene. The scene to be filmed is a sequence which will be filmed native at 50 FPS and kept at 50 FPS. Her lines will be synched with a V.O. that cannot be the final one when we'll be filming her tomorrow. Just stepped out of the pre production meeting and had a thorough conversation with the director discussing about the fact that sound will need to remain at 25 FPS no matter the frame count in picture as sound is split in a linear manner over time, that the best approach would be to just record the 4 lines in question in post and let the actress improvise but he wants to have a go at this whacky workflow, meaning that he wants me to record the guide V.O. at 25 FPS, ramp it up at 50 FPS and even though the recording will sound like Chip and Dale having a laugh, record everything at 25 FPS on set !! Any ideas about such a request and had anyone come across such a request before ? Which is the best way to double up the speed of the guide V.O. recording ? Do I just multiply the speed X 2 ? I have Pro Tools 9 and Twisted Wave handy but I 've never come across such a request before. Tried to explain that in order to do such a juggle on set we would need to at least have the final V.O. in place and lock the V.O. with the playback source and camera. Thanks in advance

Sony released the 800 Series 24 years ago ( 1991 ). As far as I am aware of this is the first ever remote controled radio system. There are more interesting Sony claims here : https://pro.sony.com/bbsc/ssr/cat-audio/resource.solutions.bbsccms-assets-micro-proaudio-solutions-HistoryOfSonyMicrophones.shtml

I see your Paul Isaacs and raise a Matt Mayer > From the horse's mouth - CL-12 will only remain a wet dream for 688 enthusiasts :/

ROFL