colinmk

Kind of similar here, except a European experience. Was lucky to get trained up as a dubbing mixer as we call it here from a very experienced mixer that was travelling up to our rural location from London every other week. Did 6/7 solid years of work on lots of TV stuff but mainly re-versioning cartoons and docs. I am quite an outdoorsy person though and found life behind the mixing desk and screen every single day wasn't for me. So I gradually managed to lean into the Sound Recordist route, building up first on an SQN straight into cameras and then moving on from there. I still do a company's post sound for them though and it really helps me earn a decent living all year round. Conversely it probably means I don't try quite as hard to get as much work as I can on the location side of things as other recordists around here though because I know I have that bread and butter dubbing work throughout the year, also the dates sometimes scupper some interesting location jobs I get offered. I also do about 70% of the post stuff from home and with covid probably even more as you are just sending on the mixes for reviewing themselves(which has it's own pitfalls!). It's a good mix for me and some directors/producers are impressed I can do both and appreciate the knowledge that comes with that, some don't care. As Philip says also, I feel I have a good understanding of what is acceptable dialogue recording in the field because I know what should be possible or acceptable when it gets to the dubbing mixer.

I go for this too if the jacket isn't too noisy or rubbing off beard etc which usually means lots of problems though... How do you guys attach with bubblebee on? Sometimes causes me problems moving about and coming off.

So you guys have a (dual)receiver and a transmitter mounted on camera??

What are people's go to gain settings on the wisycom tx on a 4060 for average dialogue level?

Nice, have done similar and will be testing out properly this week. Tried to fit a cut overcover in but it was a bit messy and kept coming out. Would be interested to see a pic of Rado's fur solution. Shame the snorkel has such wind issues, maybe a future version that could be addressed.

You have used Wisycome MCR42 with Micron? I have been told they don't have an option for that? Interested to know as I am getting an MCR42 and would be very useful to have them compatible...

Cheers. I'll try overcovers on their own with them. Last time it was a woman with a mostly see-through white long-sleeve top and made my life difficult. Think in the end it was her bra rubbing off the top that was causing the most noise though, very annoying. Cameraman was pissed off they had her wearing that white top too, was silly. Have had good success between buttons on shirts with the concealer and generally good on males.

Do you usually stick the DPA concealer to the inside of the clothes? I've not been having great luck with that recently - stuck to inside of top with stickie and concealer and no overcover, might have just been some noisy clothes though.

The automatic level control shouldn't be an issue if you are using as hops form your mixer I suppose. Probably going to get these as 2 channel hops, sounds like it has a lot going for it.

Thanks for the info Fred. Yeah, some of the work I do wants a 2 channel hop sent straight to the camera so this might fit the bill. The ease of plugging it straight into the XLRs is most appealing. Also the factor it's away from the RF in the UK. Half a frame of delay roughly(I think!) is not going to be a problem for me. Obviously being able to use them for radios is also an added plus for the price. Cheers

Any idea why the latency is so much in comparison to even the Rode link which is 4ms? Considering these as dual camera hop in the UK - solves the problem of sharing the 606 range, would 19ms not be roughly half a frame delay @ 25fps? Seems fine if so. Also as previously posted not sure about the automatic dynamics, sounds dodgy.