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henrimic

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  • Location
    Switzerland
  • About
    Sound recordist & post mixer for TV & documentaries.
  • Interested in Sound for Picture
    Yes

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  1. Here is the message posted on LinkedIn by the team of Aaton Digital: We are sad to announce that the Aaton-Digital adventure ended on February 15, 2024 by a court judgment. Three years of covid-19 followed by a long strike by cinema professionals have profoundly affected our sales. Faced with no prospects, the company was liquidated. We thank all our users and partners for their commitment and passion during the ten years we have gone through together
  2. Before sending your recorder in for repair, try opening it and taking a look inside. I lost the TC input on mine years ago. It was just a disconnected ribbon cable. I've never had another problem since. If you're not afraid to open your device, it may be as simple as that. But it could also be a fault in the power stage, less obvious to repair yourself.
  3. Each frame of LTC is coded by 80 bits. In 24 fps, that's 24 x 80 = 1920 Hz of a square wave. That's a perfect signal to record on a audio track, wether the center track of the Nagra IV-S or any specific track of an analog VCR (1", 2", U-Matic and Betacam were all analog recorders). Even the Betacam Digital used 3 analog tracks to record the CTL (Control signal for linear editing), LTC and a scratch audio track for fast forward and rewind.
  4. I use the Laavu bag that is made for the 833 + SL2. Fits perfectly and very lightweight. https://www.audiosense.be/en/laavu-833-sl-2-kor-833sl2
  5. I just finished a movie where the actors were whispering and then suddenly screaming in the same scene. I used the A20 mini's with the A20RX plugged in AES3 to my Sonosax R4+. The mikes were DPA6061. The Gain forward principle worked perfectly for these tricky situations. With my old Wisycom systems, I should have set the gain very low at the transmitter to avoid clipping in the loud parts, and thus would amplify the noise in the quiet parts. I don't know how SD achieve this, but it was a life saver in this situation. I have to mention that I used the older A10 for the booms. In these scenes, I set 20 dB of gain at the transmitter, and amplify the quite parts at the recorder, and it worked very well too.
  6. Exactly. The idea is also to get rid of the PA system. You can always create a sense of spaciousness by panning the different mics.
  7. I recorded a lot of these kind of shows years ago. Instead of stereo pairs, I did use a lot of spot mics at different places around the audience. The more mics, the best results you obtain. The thing is that if you just have a main pair and someone talks or make noise just under it, you are screwed. Also, with more mikes at different distances, you can spot some laughs and have a variety of width and options.
  8. Raycom has produced two new videos about the Wisycom MTP61. A walkthrough and a walk test, pretty impressive.
  9. That’s correct. Or you could give the IFB and the the multimedia hub to your boom operator, or hide it on the set. The range is not bad, there can be a few meters between the hub and the earpiece.
  10. I might be able to sell you mine. Please contact me by direct message.
  11. henrimic

    NDH20

    Since I started, I have used several types and brands of headphones. Beyer DT48, Sennheiser HD25, Sony MDR7506, HD26 Pro and currently the Beyer DT250. I found some too bright, some too uncomfortable, well I never found The Ones ! At home I have Neumann KH monitors and find it trustful. I was wondering if some of you guys use the Neumann NDH20 headphones on location. I’ve read reviews but all are related to music. If some of you have tried it or use it on set, I would be very interested to know your thoughts about it, especially for the kind of job we do. Many thanks.
  12. Good to know, I always received embedded audio files. Thx for the tip.
  13. A big advantage for post, the AAF keep the original metadata of the sound files, so it’s easier to conform multitracks in Protools Ultimate via the field recorder workflow.
  14. You guys never experienced a refusal from security to bring the boom in the cabin ? I was told a few years ago that it was forbidden like golf sticks on carry on. Since then, I always have two booms with me, one in the luggage and a smaller one with me in case the bags are delayed or missing.
  15. Thé A20 mini is made to work with lavs only. I tried to use it with the UMP3, but it’s not working. The only way I found to make it work is to ad a transformer between the UMP3 and the A20 mini. Not really practical.
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