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chriskellyfilm

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  • Location
    ireland
  • About
    documentary filmmaker and photographer interested in VR filming
  • Interested in Sound for Picture
    Yes

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  1. Thank you Mattias for the insights that is really helpful. I could run a pro dual receiver and have two G4's for the less important talent - there are primary and secondary talent. yeah its very much a wing and a prayer, im mostly concerned with RF drop out / interference as i work with some amazing sound editors who will separate and strip everything back and create a very detailed edit. im used to filming in languages i dont understand so shooting blind is fine for me, the chances of a key piece of dialogue being ruined by wind are pretty slim if i have a shooting ratio of 10:1 or more. where on FB do folks list stuff? i will keep an eye out for second hand on ebay and marketplace but if there are any good groups please let me know! per channel for the mtp40's they were unbelievably reasonably priced, but they have added £2595 + VAT to the bundle price for the MTP60's (or £650 per TX) which feels like a big increase for a product replacement, if the features are so much more advanced, then why discontinue the 40's? they should just make and sell both no? This also happens with recorders like the mixpre, im not sure if that is fixable, it depends on how it writes the data to the cards? any recommendations or thoughts? i might opt for a pro 2ch and backup with 1 or 2 g4's for the occassions i need 3/4 channels. what do people say about the audio limited a10's?
  2. I am usually shooting on my own, but i shoot long term docs, over years usually, and if i have a sound recordist its not very often. I shot this acambodianspring.com/ with a 416 mounted on an EX3 and one G3, it was a nightmare riding the levels and shooting at the same time! I would potentially use 3 or 4 mics at once, with a cs3e on the camera, all going into the mixpre6 mk2 which is 32bit float so i dont really need to worry about levels, only drop out, rustle, wind etc. the mix pre has run/stop from the camera and i have it mounted on rods at the back so when i hit record the mixpre records as well, it works pretty good to be honest, but I am looking for a step up in sound quality (and reliability) from the G3's. Sebi if you know if any places with used lectro or wisy please let me know, id much prefer the 40's over the 41's if i do go down that road as you say the battery life is better. Mattias do you mind me asking what you paid for the mtp60's and mcr54? i was quoted £7995 + VAT, which is more than my camera cost! I also saw on their website that the 60's record 32bit internally (doesnt mention float or not) but ive not heard that anywhere else, that would be pretty special if they did. maybe you guys could recommend a set of mid range lectrosonic transmitters that could pair with the SRC dual receiver?
  3. I heard £7995 + VAT in the UK, and $4795 + VAT for the (as yes unreleased) MCR54 Dual receiver https://wisycom.com/app/uploads/sites/2/2022/02/MCR54-DUAL-en-b02.pdf there should be a replacement MTP61 sometime in the next year or so as well.
  4. Hi folks, I am sure this gets asked all the time and im sounding like a broken record here, but I am looking for some advice on which wireless setup I should invest in. I am shooting mostly feature doc projects intended for international festivals and theatrical release, shooting in the UK & Ireland with quite a bit of travel abroad (so lots of different frequency bands). Sometimes shooting alone and sometimes with a sound recordist. I am considering the following; Wisycom quad MCR54 with 4 x mtp41s (Costing £5400 and which will be replaced within the next 12 months with a new model i understand), a Lectrosonic SRC dual receiver with SMBWD TX's costing £4000, (all with cos 11's at £245 each) or 4 Sennheiser G4 500's with the mke gold lavs and costing about £2600 for 4 channels. Everything will be recorded on a SD mixpre 6mk2. I can see that the wisy quad receiver is a great deal, but its also very expensive, i am on a tight budget and also need to get a windshield, boom pole, cables and lavs. ive only shot with g3's before and ive found the RF strength a real nightmare in certain situations, especially filming protests / civil unrest where there can be a huge amount of RF interference and also just very wide DR sound from crowds shouting etc and filming with participants moving around over long distances. But the new 500 G4's have 50mw output so might fare better? Is there really a huge difference in the quality of sound recorded between these? if so where will i hear it most? Is it really worth me spending £6500 for the MCR54 & soon to be discontinued MTP41s'? Heeellllllllppppppp! thanks! Chris
  5. Thank you for the replies and insights. so i sent the mixpre back to Audio Ltd in the UK and they have been very helpful, they sent me a loaner while they were looking at my unit, and were able to run some tests with me to see what was going on. At the moment the mixpre series will either accept or send TC via aux input, but it cannot do both simultaneously, and it will only send a record / stop signal when set to Rec Run, which incurs this delay (the delay is random in length, usually between 5-9 frames) but they have sent a feature request to allow the unit to send and receive TC via aux in & out simultaneously, and also to allow recording in free run or TOD etc. Hopefully that will be possible and the issue will be resolved. (eg most cameras can output & input TC simultaneoulsy from any of their SDI ports, not only the TC one) Also just FYI the HDMI TC works perfectly, no delays in triggering rec / stop and works with TOD / Free Run etc, the issue is the very flimsy port connection (which they replaced) and the liklihood of the cable coming loose while operating. I have a rig setup (see photos) that should prevent that. thanks for the suggestion i really appreciate you taking the time to think about this, but im loathe to have to introduce time consuming and potentially damaging workarounds to fix a feature that should work (and does work with other setups). Hopefully SD engineers will be able to fix it in a firmware upgrade!
  6. just to update in case it is of any use to anyone; i got a HDMI cable running from the c300 to the mixpre, setting the HDMI output to 1080, I am able to get run / stop with that, with TC coming out of the mixpre into the c300 as TOD / Free run (with no frame delay) and vice versa, the frame delay is still present when using rec run from the camera to the mixpre whether i trigger with hdmi or the TC cable. thanks, Chris
  7. thanks for the suggestions guys! yes the TC is also triggering the record function on the mix pre, but the TC lag or duplication or whatever it is seems like a pretty lousey bug, it basically makes the function useless. SD should be able to fix that. i have an hdmi cable arriving today to see if i can trigger with that while the mixpre sends TOD TC to the camera, but its another (poor quality, lossy) cable that i dont want hanging out the back of the camera / mixer, if it was all locking connectors i wouldnt mind. i dont want the hassle of messing about with waveforms in post if i can avoid it (its the only work around at the moment as ive been recording a backup scratch audio on the camera itself) but im going to be shooting multi cam setups so TDO TC is the preferred way of syncing all the cameras (unless you guys have other suggestions?) im using the mix pre for the 32bit float, i actually have it mounted on rods with the pots facing me so i can sort of mix levels while filming (I am a feature doc filmmaker, often working in difficult / remote / dangerous situations) but the 32bit float means i can recover anything blown out etc. i also do sometimes have 2/3 lavs plus the shotgun. also mounted on the back actually helps with the balance of the camera as i have a heavy cine zoom lens on the front that makes it very front heavy otherwise! Just 1 dual RX hot shoe mounted feeding the mixpre, or i can change the bottom and make it a slot in
  8. Hi folks, First post here in about 6 years I think!! I am a doc filmmaker but one that actually cares about good sound! I am setting up a new camera and sound setup and would really appreciate some advice and suggestions for how to do this properly. I am shooting mostly as a single operator, so I need to be able to do both picture and sound. I am shooting on a canon c300 mk3, and I have a mixpre 6 mk2 attached to the battery plate on the rear rods (recording in 32bit float 96khz). I have my trusty old 416 on the camera (I will likely update that to the cs-3e) and cos-11's going into a wisycom dual receiver. i need to have record trigger working as im doing both sound and picture (sorry!!). At present I had the camera generating TC and sending it to the mix pre via the BNC to 3.5 aux in. Set to rec run. This worked fine for the trigger, but there is a strange thing happening where the timecode of the end of the clips recorded on the mix pre is then duplicated at the start of the next clip, it might be that there is some kind of delay or something happening on the mix pre end. It messes up syncing in post so that method is going in the bin. i was going to send TC from the mix pre to the C300, set to TOD, (is that right?) output from the stereo out on the top, and that works fine, but i cannot get the rec trigger to work anymore. I am talking to SD about that and hopefully there is a solution for that. I am going to be shooting the protests at COP26 in November and there will be multiple cameras, at least one other pro level camera with a TC input, so I have been looking into how to sync the cameras and what the best setups would be. What would you guys recommend? the mix pre will be always attached to the c300 and feeding it TC from its clock, so i was going to use the mix pre as the master, jam it to an Ultrasync One and attach that to the other pro camera. Does that all sound ok? am I doing anything really wrong? could the setup be better? Of course I would love a sound person, but there is no budget for one on this project. thanks, Chris
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