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Dan Wake

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  • Location
    italy
  • About
    I study sound design
  • Interested in Sound for Picture
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  1. Can you tell me if for stereo recording using two omni on a jecklin disk it could cause phase cancellation issues in a big cinema theatre? Is jecklin a good technique also for cinema? Thx a lot!
  2. Thx for help, does it change anything about good directionality for the purpose if I mount the 4 omni on a sort of jecklin disk?
  3. Hi, thx for reply I'm very grateful. I have read that Ambisonic can create phase cancellation issues for cinema. source should be in this old topic: Why 4 omnis aren't good for film/surround? I wish to know more please
  4. Do you think it may works well to use 4 Primo EM272 for surround field recording? At which distance would you mont them and in which configuration? Are omni mics good for this use? I need the recordings to use in films and documentaries. I need to avoid phase cancellation. thx for help!
  5. Thx Olle, yeah I had the same idea about disks. Anyway my worry about phase issues in theatres is strong if I need to follow my ears during recordings that's why I'm looking for more conventional ways before trying new routes: I don't have the right equipment to check for issues in post. Maybe I can find some users on this forum who mix films in a true theatre room that would be willing to listen my field recording from my diy project?
  6. Thx for help Olle, which is it the shortest AB length in between 2 omni capsules to avoid phase issues for cinema? would using cardioids capsules instead than omni capsules change anything about the minimum length in between the 2 mics?
  7. Hi, which is it the smallest form factor stereo mic configuration I can use using diy omni mics to avoid phase cancellation problems in the theatre? I want to mount 2 diy omni mics in my Rycote blimp, but I need a suggestion about the stereo configuration (mics placement) focused on avoiding phase cancellation in theatres. Thx for you attention!
  8. thx for the suggestions I’m trying to figure it out this is new for me. with the objective in mind to avoid phase issues for theatrical 5.1mix maybe is it better to just record 4 separate tracks and do not use plugins? I mean raw 4 tracks straight on my DAW timelines. If I buy an ambisonic mic it will be the Rode nt-sf1 (the others are too expansive). I tested them plugin with a bunch of sample files, the plugin offer a 5.1 conversion. Should I avoid that? I hope you have tested it maybe you can give me some feedbacks. If have time I would be really grateful if you could test the plugin and the samples (at the bottom of the page) here https://it.rode.com/soundfieldplugin Thx Ramallo. Are little phase issues something unaboidable also using other recording technique for surround ambient recording? I'm new to surround recording and editing/mixing, in the past I've worked only in stereo, this is a new journey for me and I have many things to learn about it.
  9. Thx for help Ramallo I’m really grateful. I’m sorry I didn’t understood. Saying “no” do you mean I will have phase issues in a film theater with 5.1 mix?
  10. Is first order Ambisonic* ambient recording safe for 5.1 mix in film theaters? Will brings problems as phase cancellation? Thanks, Dan *mic models as for examples: Sennheiser AMBEO VR, Rode nt-sf1
  11. Case closed: I contacted Rode they told me the NT-FS1 has been measured to have 17dBA of self noise. Thommann and other websites info that says it’s 15dBA they are all wrong. Thomann say they will update the informations.
  12. Hi Jez, I'm super grateful for your message, I really absorbed the infos like a dry sponge seeing some water and I'm thirsty eheh, I love to edit dialogues I'll makes treasure of your suggestions. I searched on the forum to understand the issue of ambisonic for films you mentionend in your post. I have found this message here where you say Ambisonic technique doesn't works for theatrical films. I wish to ask you if I understood your message please. Is the problem related to Phase issues (as an unwanted lowering of the amplitude/volumes) when reproduced inside the speaker system of the theater? does this happens only for atmos or also for 5.1 mix? I'm sorry for my problems with english. when you say theatrical films do you mean films shown in theaters? I mostly makes audio for films (documentaries) that goes to film festivals and I wish to be sure that if I use Ambisonic as my primary microphone for ambience recording there will be no phase problems in the theaters after 5.1 mix. Thank you very much, Dan https://jwsoundgroup.net/index.php?/topic/32077-new-zoom-h3-vr-recorder-mic-combo/&page=3&tab=comments#comment-352413
  13. Jez thx for the funny post it made me laugh that's very funny. Here in Italy we swear a lot too lol If you would need to peek the option 3 after option 1 would you look for a stereo roomtone or mono, or multichannel (> 4 channels), do you have a preference? and how would you mix it in a 5.1 film (on which speakers would the sound of the room tone come out)? I'm asking cause I'm trying to learn 5.1 in both field recording and post production. I always did everything in stereo, I started learning 7 years ago, I don't have a school education I leared with trial and errors and with few private lessons about post production to learn the DAWs & rudiments. Now it's happening that directors are liking my works, and people at film festivals are appreciating my mixes and recording quality, I earned a little budget and I wish to invest buying something that may help me to learn more and experiment. I expect the things to learn will be a lot expecially being alone this will be a hard journey. I would like to just start doing small experiments to discover my taste for it.
  14. Hi, do find the NT-SF1 to be good enough for room tones recordings? Thx
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