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Everything posted by chrismedr

  1. chrismedr

    AATON Cantar Mini VS. Sonosax SX-R4+

    sounds good. but whoever did the color correction on this video should get a new pair of eyes...
  2. chrismedr

    Wondering: any word on 60 GHz wireless microphones?

    I don't know a lot about these things but pretty much everything you mentioned so far seems to make this actually *unsuitable* for location sound wireless work. to me the most promising new technology seems to be the new digital systems which sends data in synchronised nano second pulses, allowing for a tremendous amount of units in the same spectrum (forgot who got the first system out, I think it was a rack unit though) chris
  3. chrismedr

    Which MS stereo solution?

    Hi Kevin, interesting about the Sony mic, thanks for the input. I'm also curious about the Gutmann wind protection, do you mean this one, or a larger wind shield?
  4. chrismedr

    Sound Devices MixPre-3 vs Zoom F4

    I agree that it would be nice, but out of curiosity: did you actually check a MP-3 with latest firmware or are you checking the manuals? I'm asking because it might be that they just forgot to update the manual and the MP-3 already does phase reverse? just a thought
  5. chrismedr

    Sound Devices MixPre-3 vs Zoom F4

    well, there might be another reason that we're not aware of (like they are working on it, or it might be more complicated then you think). personally I don't think it's purely market segmentation because this feature will do very little pushing folks from a MP-3 to an MP-6 (inputs and track count will do that), but even if it were, that's common practice and Arri charges several thousands for some software upgrades on features that even the base model camera would be able to handle hardware wise. It's about keeping the base model low cost while paying for software developers working on advanced features not everybody might need.
  6. chrismedr

    Student film equipment setup questions.

    not sure if I understood you correctly, but why not let the sound person choose the equipment after you've discussed the script and location with him? If you *are* the sound person, then I'd suggest reading up and testing testing testing, like: well, do a side by side and you'll find out (let us know 😉 use a cable? do some budget calculations? that's mainly a question of experience (I myself suck at this) why would you want to use a super shield indoors? a simple foam should be enough seems like two different things to me: for stereo atmos, have them checked and make some tests if you like the sound. for booming, it wouldn't be my first choice but if in a pinch a KM184 (with a CMIT as alternative) should cover most scenes just fine. if you have the money, try a MK41 and a MKH50. just some loose thoughts, but as said, make tests before hand, evaluate and improve what needs improving (usually it's room treatment and booming technique : -). chris
  7. chrismedr

    Schoeps mini CMIT

    there are some really nice videos online where Philippe Chenevez talk about wind protection, and from what I understood one main factor is how much air is enclosed around the mic. so let's say a 5U in a piano has 10cm of air around the mic, a Mini in a Pianissimo has 10cm to which give similar performance. If you'd put a Mini in a Piano it would have a few cm more, thus likely better protection against wind noise (admittedly if you're booming close you'd loose some distance too). but I agree the main decision should be do you prefer light and compact, or a bit larger heavier and with more options. Chris
  8. chrismedr

    Schoeps mini CMIT

    possibly, but then again if one were to put the Mini in a full size Piano that might be even better.
  9. 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
  10. 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.
  11. 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)
  12. 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.
  13. 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).
  14. 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
  15. 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:
  16. 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
  17. 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
  18. 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
  19. 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).
  20. 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
  21. 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.
  22. chrismedr

    Best Shotgun Mic for Singing Guitarist on Location

    for a solo singer in an environment with background noise?
  23. 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
  24. chrismedr

    Sanken Cs-M1 new mike

    I see. well I guess not many people have hands on experience with it since it's still on pre-order (and not even listed on the sanken site). the freq response is rather spiky and the strong low-cut points more towards on-camera use to me... for fiction a MK41 or MKH50 probably would be preferred by most people - but the only the only way to find out is to test it how you like it in your scenarios. chris
  25. chrismedr

    Sanken Cs-M1 new mike

    for what kind of tasks? again, better for what? the directionality of the Sanken CS-1e/CS-M1 seems to be similar to the MKH 50, but the Sennheiser has a much more linear frequency response. and then are all these personal aspects of course, like sound etc..:)