Elephant_Talk

Thanks a lot for your help and time, I really appreciate it!

Hi everyone, I need to get some accessories to add to my kit but I don't know which are the right sizes/references for my needs. I would like your advice on the following: 1. A thread adaptor with the size to fit on my VDB boom pole thread that has the same size of thread on the other end; this one is to keep a XLR holder clip in place (for a Rycote stereo windshield) 2. A thread adaptor to attach a Manfrotto magic arm to a Rycote hand grip suspension 3. What reference of Manfrotto magic arm and clamp would you recommend? Thanks a lot for your help!

Thanks a lot for all your advice! I came back a few days ago and everything went well: no one got injured, no damage to my equipment (but one of the camera lenses fell down some 20 meters to end down underwater!), and the shooting although very demanding came out well. Thanks again!

Hi everybody, I'm about to start a documentary project in which we will be exploring a cave that has never been explored before. So far we know we will be descending at least 100 meters, but the idea is to go as far down as possible. Has any of you done this kind of job? Can you please share some advice regarding your experience recording sound in this kind of situation? (or any similar situation). Thanks a lot for your help! All the best, Andres.

So I finally got my cos-11 from trew audio. When I ask them about choosing attenuated or non attenuated cos-11 for my system, they said most people goes with the non attenuated version unless they are going to use it for specific jobs that require less sensitive mics. I just received my cos-11 (green dot) and when I tested it with my Lectrosonics um200b tx / ucr211 rx system, I found that the signal is too high and that I need to set the transmitter’s level almost all the way down in order to avoid the clipping LED (0 in the transmitter) to blink to often (I tested it with two different voices at a normal conversation level). This is giving me not much range to operate my transmitter’s level. Is this the way it usually works? Are you guys commonly getting the red-dot version for normal fiction and documentary work? Thanks in advance for your help.

Hi everybody, I recently both a used lectrosonics um200b tx / ucr211 rx system (the first lectro I own) and finally I can buy the lav I want for it, a Sanken cos-11. There seems to be many different versions of the cos-11 and I'm not sure what's the best option for my wireless (at least all the diferent names listed in BH got me confused); I'll be using it for fiction and documentary work, mostly as a personal mic. Should I choose attenueted over not attenuated mic? What else should I consider? Thanks for your help. All the best, Andrés MD.

Fortunately I won't be selling my 416 in order to get a new mic, it' clear to me that it is a "must" to keep one in the quiver : D. It's only that after 4 years using just that shotgun mic I feel like trying a new flavor and now I kind of have some money for it... Is there any mic you guys would recommend that can fulfill the expectations stated in my initial post? Or am I expecting to much from a single mic? Thanks! Andres.

Hello everyone, I've own a 2nd handed Sennheiser MKH 416T for a few years now; I mainly use it for dialogue recording on location but also for FX and foley recording. While it is a good mic that has served me well, I think it has a considerably high self noise for quiet locations or low level sounds (some foley stuff); apart from this I would also like a mic that can help me to get better dialogue on noisy environments (off-axis rejection). I'm now considering on getting a used Neumann KMR 81i (as they can be found in the market from time to time) to record "warmer" dialogue and also for studio work. I haven't used the KMR 81i myself and won't have the chance to test it because of where I live (I would have to import the mic) so I'm not really sure if moving from a MKH 416T to a KMR 81i would be the big upgrade I expect it to be... I've done my research (reading online reviews and listening to Dan Brockett test) but without the chance of testing the mic I just feel insecure about the decision. Can anyone with experience with this two mics please comment on the next points: - quality for dialogue recording - self noise - off-axis rejection - quality for foley/fx recording Any advice on this matter will be greatly appreciated! All the best, Andres.

Pascal thank you for the explanation and the advice on creating poly files on Pro Tools, I will try that. All the best! Andres.

How would the work flow change when using pluraleyes if poly wav file were not recorded? A docu I recently shot is about to go into post-production and I would like to give them advice regarding syncing audio; I used a SD 702 recorder and delivered two mono files instead of poly files. Thanks!! Andres

Thanks to all of you for your suggestions!!! Just wanted to let you know that I finally received my 744t today... very exited right now !!!!! After your advices I ended up getting Input/Output Cables and TC In/Out Cables; as soon as the charger I want becomes available on BH I'll be getting extra batteries, a 16Gb CF card and of course the batteries charger And following Philip's advice I'm reading the whole manual for the first time... the machine is more versatile than I ever imagined!!! Thank you all!!!! Andres.

Hi, after considering some options I decided I'll get a SD 744t as my new recorder; I thought that before placing the order it would be good to ask the community for some advices regarding the accesories for this recorder that you think I should get for a start... I'm talking about batteries, TC cables, input cables, etc. Your help will be greatly appreciated as I don't want to miss important things. Best regards, Andres.

I'm sure this is not the best solution, but I've heard some people record TC in an Audio track when there is no access to a recorded with a dedicated TC input. How do you use this track to sync the other audio files to picture? What is the approximate level of this signal (line, mic, something in between)? Thanks for your input on this., at the moment I don't own a TC recorder so I'm considering all the options available. Regards, Andres.

Robert, thanks for your answer. This setup is a very interesting solution. I also guess that for it to work correctly the SB-3s need to run during the whole duration of the shoot without being switched off. Thanks. Andres.

I'm still trying to get my head around this setup. This is what I got so far, so please correct me if I'm wrong: This setup is about having no cables attaching the cameras, recorder and slate; but there are no wireless connections either, so you connect all the devices together to align them at the same TC and then leave them in free-run. Later in the day you reconnect everything for realigning. But why the SB-3s instead of going directly to the TC in of the RED cam? Thanks. Andres.