stevegrider Posted October 23, 2014 Report Share Posted October 23, 2014 In 1999, I was using a Fostex PD2 and Sennheiser 816 or a 416. The wireless I used was fixed frequency Lectrosonic 205s. I still have a working Fostex PD2 (I will admit the eject mechanism is a a little goofy)...if you really want it, I'd be happy to sell it to you. Good luck on finding DAT tape for it, though. Quote Link to comment Share on other sites More sharing options...
Jack Norflus Posted October 23, 2014 Report Share Posted October 23, 2014 Good luck on finding DAT tape for it, though. I have one or two sitting in the back of a closet. Quote Link to comment Share on other sites More sharing options...
LarryF Posted October 23, 2014 Report Share Posted October 23, 2014 In 1999, I was using a Fostex PD2 and Sennheiser 816 or a 416. The wireless I used was fixed frequency Lectrosonic 205s. I still have a working Fostex PD2 (I will admit the eject mechanism is a a little goofy)...if you really want it, I'd be happy to sell it to you. Good luck on finding DAT tape for it, though. Probably 195's? The 205 series were rotary switch selectable 256 frequencies in 100 kHz steps. LEF Quote Link to comment Share on other sites More sharing options...
Jim Feeley Posted October 23, 2014 Report Share Posted October 23, 2014 Everyone had to really know what they were doing. :-) Quote Link to comment Share on other sites More sharing options...
studiomprd Posted October 23, 2014 Report Share Posted October 23, 2014 Del: " The director is a Grammy winning studio ace, so he might be pickier about his sound " then he will completely understand tweaking it in post! " I think if you're going for that vintage sound, the best place to start is use period appropriate mics. " I don't think so... " Does anyone know what model Schoeps were popular for TV back then?" yes, we do " I think the Schoeps lineup has progressed several times since then. " not really " And we're shooting on Red Scarlet instead of 35mm, so maybe the commitment to period only extends to in front of the camera. " it would seem... and the images can be tweaked in post, just like the sound can be tweaked... Jim: " The right mixer could play a role. " highly dubious... Quote Link to comment Share on other sites More sharing options...
Jim Feeley Posted October 23, 2014 Report Share Posted October 23, 2014 Jim: " The right mixer could play a role. " highly dubious... It absolutely could. Did you see the Cooper's audition? Quote Link to comment Share on other sites More sharing options...
Mungo Posted October 23, 2014 Report Share Posted October 23, 2014 DAT recorders from HHB and Fostex Wireless Sennheiser SK50 / EK4015 (16 fixed frequencies) Wireless Sennheiser SK2012 / EK2012 (1 or 2 fixed freqs) No digital mixers SQN mixers all around I remember the SD 302 coming up around 2003. Quote Link to comment Share on other sites More sharing options...
Mungo Posted October 23, 2014 Report Share Posted October 23, 2014 There were very few cameras playing a major role in the TV world of 1999: Arri 16SR3 (doc, tv movies, series) Sony BVW-300/400 (Betacam SP, for news) Sony DVW-900 (Digital Betacam, for doc, news) and some extremely heavy camera with docking recorder solutions (Sony, Ikegami) Quote Link to comment Share on other sites More sharing options...
Masaki Hatsui Posted October 25, 2014 Report Share Posted October 25, 2014 I don't see the point why they want Vintage Sound with a Red Scarlet... How about using a Sony PD150 with it's onboad sound for a budget shoot? Or, I remember we still shot with S16mm back then. Masaki Quote Link to comment Share on other sites More sharing options...
tsmyles Posted January 15, 2015 Report Share Posted January 15, 2015 I'm sure the wave has passed but here goes: In 1999 I was using Schoeps MK41 or Sennheiser 416 (T power) ...and still use them 99%of the time. My radios were Cetek Vega fixed Travellers (4 of them) and 2 Audio Limited RM2000s (you had your choice of 2 frequencies, wow!) with TRAMS. Mixer (still use) Sonosax SX-S 6 channel. Recorders 2 Stellavox SP8s with stereo headstacks - fed by external TC generator (custom modded Deneke TC box). Either on my cart (which I still use 25 years later - nice design job, Tony), one of the first flight case based carts...now it seems heavier than hell but I carried everything but the kitchen sink in the 2 stacked cases (see my webpage) or using one of the Stellavoxes with the Audio Limiteds for "bag based" recording. Quote Link to comment Share on other sites More sharing options...
Dejan Ceko Posted January 15, 2015 Report Share Posted January 15, 2015 http://en-de.sennheiser.com/downloads/download/file/3984/MKH-Story_WhitePaper_en.pdf Quote Link to comment Share on other sites More sharing options...
Marc Wielage Posted January 16, 2015 Report Share Posted January 16, 2015 Great Sennheiser article, Dejan -- thanks for sharing it. I don't see the point why they want Vintage Sound with a Red Scarlet... They'll no doubt add simulated film grain in the final post for that "vintage" look. Believe me, there's a lot of people adding film grain to digitally-shot material these days. Quote Link to comment Share on other sites More sharing options...
sonyslave Posted January 17, 2015 Report Share Posted January 17, 2015 416 going through an FP33 recorded to a Minidisc recorder was a compact rig ideal for lowbudget movies. Lectrosonics 185 worked well for the time period. A small DAT recorder would be sonically better but much more expensive! Quote Link to comment Share on other sites More sharing options...
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