Super CMIT in action

[rich]

here is a clip of a show i just finished swinging on.

hopefully its viewable outside the UK.

the first part with the 'ladies' coming down the stairs was on radio mics (trx900 with cos11's)

the rest of the scene was using a super CMIT.

knowing the production schedule etc, i dont think much has been done to the sound beyond ensuring even levels between cuts.

ive only listened on my laptop but it there is a difference in the ambience between the radios at the top and the rest of the scene.

[Affinity]

Thanks for sharing a finished product and letting us know what equipment you used.

I googled the "trx900".  They look nice and expensive.  One thing that is claimed about the trx900 is that "Superb audio quality that rivals a hard wire".  What is an example of a hard wired recorder that an audio pro might use with a lav? 

[Jan McL]

Thanks for sharing a finished product and letting us know what equipment you used.

I googled the "trx900".  They look nice and expensive.  One thing that is claimed about the trx900 is that "Superb audio quality that rivals a hard wire".  What is an example of a hard wired recorder that an audio pro might use with a lav?

Hi, Affinity,

The TRX900 is typically used with a lav. When folks speak of, "...audio quality that rivals a hard wire," they're speaking to the idea that wireless mics (and their lavs) sound less good than hard-wired mics: mics fed to the recorder via a cable.

There has been much debate among us on the subject of the quality of wireless boom mics relative to hard wired boom mics: Quality of sound. The capacity (or lack thereof) to deal with unexpected loudness. Risk of RF interference. Etc.

There are a bunch of recorders that field mixers employ for film and tv. In no particular order, Zaxcom's Deva, Sound Devices 788t, Cantar and Fostex are widely used. Fostex is kinda on the way out.

Rich, I thought the transition from wires to boom was pretty smooth

-- Jan