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sfw

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    Edmonton, AB
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  • Interested in Sound for Picture
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  1. Update: Chased some Black Friday deals. Picked up: - Tascam DR-680 from BH. $430 includes case! - Petrol 602 bag -used - 2 sennheiser ew112 g packs from vistek in Canada ($599cad/each) -1 sennheiser ew100 set ($699cad) Brings me to 6+2 recording. 4 wireless setups. Looking to add a few decent lav mics, a new shotgun (cmit or cs3e) and a battery system to the DR. Good progress and I got deals on everything. Edit: figured something out. Nevermind.
  2. I'm probably the worst person on here to respond about "location" sound but I happen to love microphones so I'll jump in. The big question before you decide on any mic is what is it going to be used for? And the reality to this is, every pro owns multiple mics specifically for the right environment, situation, voice and instrument (studio stuff). I was going to post my totally non-veteran opinions based on what I've used but there are better people here for that info. The thing I will post is this: http://homerecording.com/bbs/equipment-forums/microphones/how-does-diaphragm-size-polar-pattern-relate-mic-applications-27030/ 97 forums pages where Harvey Gerst walks you through different mic types, polar patterns, freq curves, circuits, etc. Grab a beer and read this before you buy any microphone.
  3. Not sure if this has already been posted but: Richard King talking about the sound on interstellar.
  4. Five star responses. Very thankful.
  5. Jeff: Thanks. Sorry, incorrect use of the term custom. What I meant by "custom" is that Zax seems to be the only product that is made and offered for the specific use of boom operation. I haven't seen anything by Lectro, Senn, or Audio ltd that allows for both monitoring and transmitting. Just curious to know if anyone else makes something similar or is Zax the only one. Cheers.
  6. What's the best way to decouple a boom? I know Zaxcom makes the custom product that allows for operator monitoring but it seems that other solutions require the boom op to be transmitting and receiving. Is there not an annoying amount of latency introduced in this round trip? Cheers.
  7. Gerard: We do have a pole, a Zeppelin and a couple of shotguns depending on the environment.
  8. We have: Standard sennheiser me-2 & me-4. We are looking to get: Countryman b6's.
  9. Ok, new question. Taking the "fancy" kit out of the equation, what would you recommend for wireless and recorder? Three more G3 packs and a fancier, larger tascam?
  10. I always love these threads on GS. I hear all your feedback and agree with almost all of it. We are in the situation where we need at least 4 more tracks of recording. As a post guy, I naturally want iso's so whatever solution we buy will almost certainly have the ability to record isos and the mix. We need to buy 2+ more wireless rigs plus cabling and mics. My concern with spending $6000 on lower midrange gear Is that your $1500-2000 in accessories (cables, lava, etc) are all gear specific. If two years down the road we upgrade to true pro gear, you have to rebuy all of that stuff. It's one of those, $6000 now, $12,000 later or $12,000 now conversations in my mind.
  11. All great feedback. I completely understand the joys of hiring a pro who has his or her own setup and works with it everyday. On bigger shoots, we sub out to pros everytime. It's not the big shoots that worry me, it's the smaller more run and gun work which comprises about 50%. Booking a pro for a two hour run and gun job would be insane on both budget and coordination. And yes, I'm sure someone will pipe in about proper planning, client expectation, etc. but we all live with economic realities. Our camera gear is above the 5d world and we typically shoot on a Sony FS700 as our primary with black magic and DSLRs as supporting cameras.
  12. Thanks for the responses. We're in Canada so I think Trew is the only local one. Will: not overly upset about signal quality but rather workflow headaches. That being said, we did try and use the tascam preamps once to push a dynamic mic. That was definitely the gear. We're at the point where we either buy two more tascams or a decent multitrack. Lots of used older sound devices but they only record stereo and no ISO tracks (and being a post guy..)
  13. We are a boutique agency that has been slowly developing its internal video and audio departments. We have a full post studio (I'm a post guy so please forgive my lack of knowledge in this realm) but are fed up with our "intro" field kit (tascams, etc.). We've got a couple sennheiser G3 packs that work fine but we are drastically lacking on field recording/mixing/monitoring/etc. we are sort of ready to make the jump into pro gear. I've been researching what our options are and there don't seem to be many... I've boughten and replaced enough "midrange" gear to know to spend the money upfront and get the good stuff now... Even if it means buying it "piece" by piece. My big questions are, and I'm sure they are debated all over this forum: Zaxcom or Sound Devices for field mix/record? (Nomad 10 vs 664) Zaxcom or Lectronics for wireless? If zax, the qrx 235's over the 200's? QIFB? We are looking to buy gear above us and grow into it instead of buy something we have to flip soon. Cheers!
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