nomados

The original impulse was to simply use a 702t for stereo recordings and jam to the camera. However, this is less than perfect and the idea of wirelessly maintaining TC seemed pretty cool with Zaxnet etc. The idea of the Mixpre-d was to have a bulletproof device that can run on AA with great pre-amps and solid limiting. ZRF seemed to make economical sense + would be a great solution for interviews to boot. The ERX with easy battery power and Zaxnet seems to make total sense, especially if it can auto re-jam in close vicinity. Sounds like the audio to QRX is just for QC and not reliable for scratch. I think if Maxx had Zaxnet I would not be asking these questions as it would solve many problems and we could just throw a small ZRF in the mix. Appreciate the thoughts.

Well, in our my case, I'm married to my co-director and we haven't always had the ability to shoot together. In the olden days, we used to record dual system with an HHB recorder--which I even brought to Iraq on many occasions along with camera gear to record MS ambience and effects. Times have changed--as has our work-- hence trying to find a way to use multi-purpose tools like mixpred-d and ZRF.

Appreciate the advice. Spent two hours watching Neverclip/Zaxnet demo on youtube last night trying to understand what it can and can not do. Still a little confused, but will hopefully get some clarity.

My partner and I probably have some of the shortest end credits in the business. We've always strived to do things ourselves. It's simply not practical to hire an editor for six months or to have a recordist on a difficult/dangerous location for months on end. That's documentary and while it's imperfect, we strive for the best results. One thing we always do have is a postproduction mixer who is essential. I can't (and don't want) to do what he does. I don't have the ears, speed or patience.

Like many filmmakers, my partner and I shoot, edit, direct and produce. It's not only normal now, but has been since the advent of documentary. It's often a very personal medium. In fact, my ability to do things myself often dictates the subject matter. The whole point/joy of it is getting great impressions of subject/place/people.

You really are a rowdy bunch. As for my work, I most recently did "The Flag" for CNN Films and have made a half dozen documentary features over the last decade. Last time I checked, in response to another poster here, my work is taken seriously enough, although all those knobs and cables confuse me sometimes.

I understand all this, but I'm not saying that I'm a reality producer looking to automate production sound--and I'm sure there is one out there trying to do so--rather, I'm someone who oftens works solo looking for better solutions to difficult situations. Truth be told, documentary tends to be a "DIY" medium and always has been. Just ask Pennebaker or Maysles, who fifty years ago revolutionized the way that sound and picture are captured in the field by hacking existing tools.

Appreciate your thoughts. I'm sure it was totally different world when you got started and much more rarified with many more barriers to access. I started shooting when Hi-8 cameras came out. At the time, it was unthinkable that a "nonprofessional" could shoot usable footage for broadcast but within a few years small cameras were being used where Betacams couldn't go. Fast forward ten years and DV cameras changed everything. You could make a film anywhere (and we did). My first feature film was shot on DV and blown up to 35mm. Today a $1600 camera body can be used to shoot a feature that can then be graded with free software and output on the desktop to a DCP. I don't feel threatened, I feel empowered. Likewise, tools like Neverclip are going to radically change what is possible in the world we work in, but that doesn't mean that I'm not going to hire a soundguy when I'm shooting in New York and I need to wire a room. In the meantime, fully intend to improve my capabilities and understanding.

Appreciate the understanding. Didn't intend to offend anyone here. It's like I pulled up on a Vespa at a biker bar. I love working with sound people as it is a huge relief to know that someone else is focused on that one thing and one thing only. However, it simply isn't possible most of the time with what we do. It's a little presumptious of some on here to automatically assume that I don't get the value of good sound. On the contrary, I'm obsessed with doing the best work possible in any given situation. That could mean a really smart on-camera solution from Ambient or a recorder from Zaxcom that can change the way I work. Knowledge is a good thing. It's also evident that the more users communicate, the more manufacturers understand what the needs in the field are. Thanks Tucker

Sorry that a question asked of professional users generated so much hostility. No one suggested the end of sound people, rather, I simply stated how I work. I often shoot in situation and places where a sound guy isn't possible. At the same time, I'm simply trying to to get realistic overview of how to incorporate new tools into my arsenal. My goal isn't any different than anyone else making films: to get the best images and sound in a given situation. If I was shooting a narrative feature, I would hire a DP and a focus puller, but I'm not. Would it be nice to always have a mixer next to me focused on one thing? Sure, especially on those days when I miss something, however, if tools like Neverclip can save those takes, it makes sense to ask around and see how practical they are. Same goes for things like the ZFR. How many times do I wish I had a recorder on someone during a shoot. How many great moments have I missed? I get where people are coming from--the times they are a changing--and everyone has felt the bite of accessible technology, whether that is guys with little cameras outbidding "pro" cameras or guys with a copy of Resolve grading movies in their home offices. In all sectors, unbelievable technology is coming out that changes the very nature of production. Should guys with Tyler rigs be scared of amateur drone pilots flying 5Ds? Maybe but probably not. At the end of the day, however, what I do doesn't infringe on anyone elses space or work and I'm simply trying to acquire the best material possible with the tools and technology I can reasonably manage. Glen, thanks for the clarification, I will check with Prosound and see what could make sense. Might need to rent something with Zaxnet to better understand the limitations. Thanks for the replies. Tucker

No offense intended and I understand the sentiment, but the reality is that often the subject matter we are shooting is hostile and is no place for a large crew. Simply trying to make the most of the tools that are available and there are some interesting options out there. Thanks, Tucker

I'm a doc director who typically works without a dedicated mixer on location and instead relies on a mixture of on-camera mics/boom, lavs to camera and atmosphere recorded to separate recorder. Currently looking at a few options both to improve noise and post sync issues while shooting with c300. One flexible option that seems appealing is using a MIxpre-d in a small bag recording to ZFR100. What I don't understand is how we could use Zaxnet to jam to camera using an ERX onboard. Does that work? If you have the STA stereo adapter, could we record two tracks to ZFR100 while sending same via Zaxnet to ERX and record to camera? Obviously, getting a Maxx is also attractive, but wondering if we could build a smartly/more flexible solution. First priority is TC sync. Second is overall weight (in bag and on-camera). Third is the ability to transmit somehow to camera. The last is ability to simply wire talent with ZFR and confidence monitor/record from camera. Any thoughts are appreciated. Was at Prosound last week and spent a few days trying to get my head around wha Zax can and can not do. Obviously, a huge selling point is Neverclip for us. Thanks, Tucker