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chrismedr

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About chrismedr

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  • Location
    Germany
  • Interested in Sound for Picture
    Not Applicable
  • About
    documentaries

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  1. chrismedr

    Sonosax SX-R4+

    works for me: SONOSAX LC8+ control surface with faders for the SX-R4+. We have many request for a control surface, and we are working on. We have 2 options for this accessory, a small and compact with limited figures, or a most complete, but for sure, it will be bigger. We attach a drawing of the first and compact option, on the same size of the SX-R4+. This device will come with an connector box, to be able to use on the following possibilities: - SONOSAX SX-R4+ with LC8+ - SONOSAX SX-R4+ with AD8+ and LC8+ - SONOSAX SX-R4+ with RC8+ and LC8+ Please, tell us what do you think of this project, if for you is realistic, or too limited. With our best regards
  2. chrismedr

    Film Camera Noise

    Yeah, a well maintained SRII should not sound loud and usually only causes major problems in quiet intimate indoor scenes. A barney and optical flat (best placed in a matte box) can help a little bit, but if the camera is noisy to start with won't do much. As Philip says, compared to video cameras most film cameras are a bit noisy.
  3. chrismedr

    Zoom F8n.

    I'm a big Arri fan, but Guardians was shot on Red, the next three Avatars will be shot on Sony Venice, Mad Max 4 had Canon 5D footage in it, etc etc. But sure, on expensive projects producers might be questioning if a Zoom F8 is the best choice unless you can bring up some convincing arguments (and no, "It was 2000 bucks cheaper then a 633" doesn't qualify except on no/low budget projects). Like if you want to use a 5D for a feature over an Arri, you also need better arguments then "it's 100'000 bucks cheaper" (or a less dramatic example, if you want to use a Venice over an Alexa "it's half the price"). So the question is will the person hiring you and your kit think you bought it because it was the best gear for the job, or is it because you wanted to save a few bucks. And frankly if you show up with a Zoom F8 and some G3 they usually assume the later (and usually rightly so)
  4. chrismedr

    Zaxcom Slate

    slightly strange in that video that sometimes the two slates are perfectly in sync, sometimes half a frame off, sometimes one frame of, sometimes two frames off. i can understand a constant offset, and also a variation of 1 frame, but 0 to 2 frames seem strange to me.
  5. chrismedr

    Zoom F8n.

    the point here IMO is that artists who can afford it will prefer to use high-quality gear but in the end if the performance is better in the demo because it was the right day they will prefer that over a bad performance in studio settings (even if it has been recorded on a focusrite).
  6. chrismedr

    sennheiser tx ew100 g2-g3, at 100 mw

    I'm not an expert on these things, but I'd expect boosting RF power would be illegal in a lot of countries. so doesn't sound like such a good idea to me to save a few bucks, specially not on bigger sets. chris
  7. chrismedr

    Red Helium Fan

    well, not sure what there is to explain - it's simply that camera sensors and electronics in general perform better at lower temperatures. that's why all manufacturers use camera cooling, and why nearly all cameras for astro imaging use a peltier element to keep sensor temps as low as possible (as does Arri). I'd expect your test results come from the fact that your camera has been optimised for a certain operation temperature and not to room temperature. It might even be that in some camera designs there isn't much difference at all because the main source of noise comes from somewhere else, my main point is you'll have a hard time convincing any AC to run the camera at higher temperature to keep it quieter (not only because of sensor noise but also because of stability). anyway, for the technical nitty gritty, do a web search - here's a research paper I've found with a few minutes of looking around:
  8. chrismedr

    Red Helium Fan

    this is against common knowledge (and also against basic physics). it's the opposite: lower sensor temp reduces sensor noise and you'll have a hard time convincing any experienced camera crew to calibrate their cameras to higher temps (unless they are really sound friendly) chris
  9. chrismedr

    Zoom F8n.

    well, true as long as we live in a logarithmic world and would sample at ultra high bit depth and avoid all noise issues of electronic circuits. that's not how recorders work though. if the 120dB in the ADC is correct we can assume a 20bit ADC - which means a bit over 1'000'000 values to store the loudest to the quietest sound. afaik all commonly used ADC work in linear domain, that means the top 6dB (120dB to 114dB) will get about 500'000 code values (1048575-524288), while the quietest sounds (0dB-6dB) will get exactly 2 code values (0-1). I simply can't see a way how you would recover 10dB more squeezed into these two code values. chris
  10. chrismedr

    Zoom F8n.

    sure, if you apply 10dB attenuation to your 130dB scream then it will record fine at 120dB, but at the same time everything that happened in the 1-10dB range is pushed below 0dB and therefore lost forever - applying digital gain will not bring back up any signal that was never sampled to start with. in other words a 10dB attenuation would allow for higher max levels, but not for higher dynamic range because you essentially just shift which 120dB you're recording. anyway, 120dB should be enough if properly implemented, I was just wondering how they think they managed to get more dynamic range on their total system then their weakest link. chris
  11. chrismedr

    Zoom F8n.

    sorry, I think I still don't get it... I'm sure the "resolution" is high enough with nearly all digital recorder these days, but if the ADC gives you 120dB to start with, no look ahead limiter or boosting levels or other digital wizardry will magically turn that into real 130dB later on (unless I'm missing some fundamental logic here).
  12. chrismedr

    Zoom F8n.

    I'm confused - how can one have 130dB DR if the ADC only has 120dB to start with? Unless they use dual preamps, I just can't see this happening. From the description it sounds like there is no analog limiter, but they simply record at 10dB reduced analog gain, then add a digital limiter and boost the gain by 10db digitally? If that's the case, what's the benefit of this then just recording with 10dB more safety headroom without a limiter (other then that post doesn't wonder why you're running such low levels)? chris
  13. chrismedr

    Best Shotgun Mic for Singing Guitarist on Location

    well, I was referring to Jez's post and just wondering if an omni stereo would work well for that.
  14. chrismedr

    Best Shotgun Mic for Singing Guitarist on Location

    for a solo singer in an environment with background noise?
  15. chrismedr

    Zoom F8n.

    I can see the point of using a F4 for short no-budget shoots where nobody gets paid, but on a paid feature which takes weeks - why would anybody want to? I mean, buy a 633 or used 788T for 3500EUR, work with it for 3 years, sell it again for 2900EUR if you need something new then - you basically rented a top machine (which is much more flexible and enjoyable) for 200EUR per year. and with a bit of negotiating it should be easy to cover that with extra rental fees (like "I charge you 2EUR per day more to use a Sound Devices instead of a Zoom") chris
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