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About IronFilm

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    Hero Member

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  • Location
    Auckland, New Zealand.
  • Interested in Sound for Picture
  • About
    Sound Recodist / Boom Op / Sound Utility who is located in Auckland, New Zealand.

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  1. Reaper does seem to be the leading contender for those who wish to ditch Pro Tools
  2. To be fair I am extrapolating and using a bit of hyperbole
  3. That is a really smart idea!! As I often struggle to get a second back up option on an Arri. Because a set up to feed line level from a scratch mic many operators tend to find too bulky. A wireless camera hop is slimmer, but unfortunately many camera teams don’t even like that?!?!? But a Tentacle set to line level would be a perfect little back up set up as Aux TC
  4. I thought AatonCode was something which came with the “newer” Aaton (and Panavision?) film cameras but also could be done as an upgrade to an existing camera by modifying it? Thus even an Arri film camera could end up have the AatonCode feature. (Or so is my impression from my research of this this week)
  5. I always feel it is a bit risky and tempting fate to rely purely upon only timecode without at least a small mini scratch mic? What happens if one day (or week! If they're not doing dailies to check) the timecode fails, be it due to human error, gremlins, or a buggy camera. (I'd hate to be the first person to discover a hidden timecode bug on a brand new camera that had just been released!) As you'll then be putting the assistant editor through torture as they line up the clips one by one.
  6. Have coming up soon my first shoot with Super 35mm film. And am wondering what should I do and recommend for ease of post for them afterwards? (of course there is always the slower manual way of lining up slate IDs for each take, and we'll of course do that as a back up resort but hoping we can use a better option?) I've been doing research myself, but it seems there are a fair few variations/opinions here. (and I should get in touch with their development house as well? To see if they can handle AatonCode or ArriCode or whatever it is that the camera has as an option, which I'll spend a tech day on next week to see the cameras in person so I can get a better feel of exactly what it is I am dealing with) I do know that of course the Arri 235 is a MOS camera, as it will be very very noisy. But they have to use the Arri 235 for all their indoor shots which will all be done on a steadicam, for which their Arri 35BL is too heavy. However I will still be recording audio throughout, so they've got a good reference track to do their ADR with. Very keen to hear from others any advice or experiences!
  7. Do you use waterproof transmitters in those scenarios as well?
  8. Compare and contrast with if that was to happen to us with our recorders! We'd never work in that town again. While for camera department? "oh well bad luck happens"
  9. You could consider instead the Sanken CS3e, which is rather quite directional as well but in a more compact package.
  10. lol! Would be pointless having a mic inside that zeppelin
  11. That was fascinating browsing them! For instance here is a review of the first ever Zaxcom Deva: https://www.americanradiohistory.com/Archive-Studio-Sound/90s/Studio-Sound-1997-09.pdf
  12. Millions of articles like that out there, just created by someone (or something not even a real person.... but just a bot!) slaving away at a keyboard. Needing to make heaps of them per day. Just randomly hitting up google to whatever first shows up, or just ripping the best sellers list straight off Amazon without any further thought.
  13. Why did you feel "blah" about the CS1e?
  14. Most bags will mean it is very tricky to access the side of the MixPres to control their knobs, instead of sensibly placing it on the top like the Zoom F4 (and most other recorders!) does.
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