IronFilm

It is a tricky thing in VR creation how to change the sound design realistically as the person moves around in the environment

Strange strange, and a little sad, as John Hess usually produces such great videos on Filmmaker IQ. Once again, as usual, sound is being treated as the outcast poor bastard stepchild of the family.

I do notice with interest that none of B&H or Amazon.com (only available on Amazon via a 3rd party seller) or Adorama are selling the Saramonic UwMic10..... I wonder if it is because they're being cautious for legal reasons and/or Sony (or others) have sent legal threats which made them pull back.

They're Class 4 cards. Not surprised at all if they're failing Zoom's tests!! As Class 10 cards are so dirt dirt dirt cheap these days I don't understand why anybody would bother even putting in anything else.

That would be lovely! What about using a Sony NP-F10 battery? NP-F are very commonplace, and easy enough to find plenty for cheap via 3rd parties. Rode is using it inside their TX. http://www.bhphotovideo.com/c/product/1187382-REG/rode_tx_xlr_xlr_wireless_transmitter.html

Hope so! :-P Also hoping to see Saramonic at NAB?! They're UwMic10 system is incredibly affordable, this item will be shipping in June (would be really nice to use this to get rid of the boom pole cable): Will be interesting low end competition for the Rode TX-XLR (for use with their RodeLink system), or Sony UWP-D16 / Sony UTX-P03, or Sennheiser SKP 300 G3, or Audio-Technica ATW-1812D (I think I've listed all the main low budget competition? But even these are much more expensive than the UwMic10). http://www.bhphotovideo.com/c/product/1187382-REG/rode_tx_xlr_xlr_wireless_transmitter.html http://www.bhphotovideo.com/c/product/1025756-REG/sony_uwp_d16_14_bodypack_lav_mic_plug_on_eng_package_ch14.html

The Rode blimp arrived last week, and I used it on this weekend's job. It was entirely indoors, so I just used the shock mount without the blimp shield, instead with only a softie over the NTG2. I was massively impressed with the Rycote Lyre suspension, *HUGELY* better than the shock mount I was using before. Before I had to be fairly careful indeed with my boom to avoid handling noise, but now with the Rycote Lyre suspension it is much much harder to create bad handling noise.

How do you find the PRO-XD as a camera hop? Would be it be good enough to use on talent on low budget shoot? Worryingly I've seen it perhaps needs line of sight, and so thus couldn't be used under clothing (which would make it useless for me!), but maybe the reviewer just had a faulty unit. Lauri

I had decided I'd go for Rycote, as it is only a little ish bit more than a RODE on B&H when comparing the prices listed on B&H. But then I saw the RODE being sold on eBay for significantly less than at B&H, and that just made the RODE/Rycote price gap too big to ignore, so I ended up going with the RODE blimp: http://www.ebay.com/itm/RODE-BLIMP-WINDSHIELD-AND-SHOCK-MOUNT-/290944829370

Would the Rode Blimp be the best Blimp to go for on a budget? Or is it worth spending a little more? (I'll be using it with a NTG2) http://www.bhphotovideo.com/c/product/1056426-REG/rode_blimp_windsheild_rycote_lyre_suspension.html Is the K-TEC better than the RODE Blimp perhaps? http://www.bhphotovideo.com/c/product/458958-REG/K_Tek_K_ZEPP_M_Zeppelin_with_Suspension.html Or the Rycote? http://www.bhphotovideo.com/c/product/1044548-REG/rycote_010321_super_shield_kit_medium.html Which to pick!! So many options!!

Do we know when the patent was granted? As then it is easy to figure out! I'm really looking forward to this stupid patent expiring

Registration codes (allows you to get into NAB for free): LV4362 (Lectrosonics) LV6974 (Zacuto) LV8384 (Sound Devices)

Wow, union rules be crazy! Thinks like that make me glad that I'm not in the USA.

Wow, I'm amazed you shot a feature film on S16 film! :-o What are you planning on shooting your next one on?

Weird release from Canon, and no way it will be as insanely popular as the C300 mk1 was. The Sony FS7 is stealing all their oxygen instead.

Don't think V lock is essential, and it already balances quite well on your shoulder with smaller lenses. I've shot with an FS7 a few times, and three batteries last fine enough for a whole day. And buying a few extra ones is cheap enough. But if you do go with V mount, a much cheaper option is: http://www.bhphotovideo.com/c/product/1100248-REG/lanparte_vbp_01_sony_v_mount_battery.html Which is what I've seen fair few FS7 owners do. However... sound guys will be out of luck! Doesn't have TC. I own a F3, while I use V locks (as a counterweight) which last me roughly a day's shoot, the BP-U ones are not too bad either. Just have a few spare at hand. It is nowhere near as bad as my BMPCC which I've used over a dozen batteries on a single day's music video shoot! ha

I've used lots of different kinds of gimbal systems, they should be very quiet. But if they've been badly balanced..... they'll be noisy!! (because the motors will be working extra hard to keep it straight) So sound should be zero issue, unless the gimbal op screws up the balance (hopefully very unlikely).

Another review of the F8 with pics of it showing a couple of other common ones so you can see its relative size: http://www.lightformfilm.com/blog/zoom-f8-impressions/

There are quite a lot of ultra fast modern lenses made these days for mirrorless cameras. I myself own a SLR Magic 25mm T0.95 Cine lens.

Is INDB credit better than an IMBD credit??

Not sure how well that financial app works if they can't afford more than $250....

What is the URL? I'd like to join too (well... I'm a NZer, hope that won't be a problem :-P )

Don't fear, I'm not a plant from SoS coming here to pimp out their site! ;-) I've just been looking up info about the F8 (though probably leaning towards an SD552 for sure it seems instead), which meant I read the article (which I thought was interesting/informative) and naturally lead to reading this thread as well :-) I did find that rather weird calling it x4.5 the price. Although where is it x1.7 in price??? Amazon / B&H lists it as costing 2.4x as much. I wonder if SoS was incorrectly thinking of its long past price (for instance its release RRP was about $7K for the Tascam HS-P82??).

For a one-person-crew, not having to hit record separately on the sound recorder (*AND* having them sync up perfectly in post) is a huge huge additional bonus over the DR-70D. It is easy to see that those on a budget will go for the DR-70D, but professionals with a bit more cash to spare will get the DR-701D and save themselves the hassle in the field.

I've used the H4n, which is quite infamous for having poor pre-amps. I've also used the DR-60D mk1 and DR-70D, they're for sure miles better than the H4n (but yup, nothing at all like a Sound Devices. Thus why others here are looking down on them). DR-60D mk2 is meant to have improved pre-amps over the DR-60D mk1, and the DR-60D mk2 has I think the same pre-amps as the DR-70D DR-680 mk2 is meant to be a little better yet again. For the price of a Tascam HD-P2 I'd probably suggest looking at a Zoom F8 instead. I'd suggest buying a DR-60D mk2 (or DR-70D if you think you'll need the extra channel) and sell off your H4n and DR-40 Put the spare money towards a nice microphone, or put it aside to save up towards one day getting a Zoom F8 or even perhaps a Sound Devices.