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About OnTheSoundSideOfLife

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    Sounddesigner, Location Sound Mixer/ Boom Op, Field Recordist

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  1. OnTheSoundSideOfLife


    I think you can buy the new swivel and switch it with the old one. Works for both Osix and E-Osix, but not Piano and Pianissimo I suppose. http://www.cinela.fr/catalog.php?pid=99
  2. OnTheSoundSideOfLife


    Sorry for your disappointment, thats just what I got told. Based on EU prices (415€ for Osix+Leo ex. VAT) 450€ is pretty much "around". Depending on the type of work you do and the mics you use, Pianissimo might be the better choice. Cosi is for people who want a Cinela windshield/suspension for their MiniCmit or 4018c, something that wasn't available for indoor use by Cinela so far. It's for people who don't want to spend money on Pianssimo AND Osix+Leo, but still want the keyfeatures of Cinela products (great suspension, transparent sound, light weight) for in and outdoor use with a compromise. For me, someone who already owns a Pianissimo, buying Osix+Leo makes more sense. Overall I would say having both Pianissimo and Osix is the best solution you can get, but Cosi is a great compromise for less money.
  3. OnTheSoundSideOfLife


    Update from IBC: Price will be below Pianissimo, and something around the price of Leo+Osix. I'm sure Philippe will tell us soon. Cosi will only be available with fur, there will be no fabric-only version like used in the Pianissimo range. None of that information is guaranteed tho.
  4. OnTheSoundSideOfLife

    Audio Limited A10 for talent.

    Thanks Moe! Daniel already asked it, but have you been in a situation where the app came in handy to change the gain settings "during" a take. If so, how did that go and how is the bluetooth range.
  5. OnTheSoundSideOfLife


    Will it be possbile to choose the thin fabric that is used on the pianissimo and leo range, instead of the fur (like you showed at IBC 2017)? I know the concept is to be able to switch between indoor and outdoor very fast and without change. But since I already own a pianissimo that I use outdoors, I would rather like to buy something that is dedicated for indoor use only and choose the fabric over the fur for even more transparent sound.
  6. OnTheSoundSideOfLife

    Wisycom MPR52 with G3/G4 experiences?

    I've seen this bundle with the MPR52 and two Sennheiser G4 Transmitters. Does anyone have experiences with this combo? I've read an old thread about the MCR42M having different expander modes, one for the Evolution Series. How much of an upgrade is this Receiver (range, sound quality, reliability)? I actually want to go for Zaxcom or Audio Ltd. in the future, but maybe this would be a nice upgrade for my G3's in the meantime. SoundSide
  7. OnTheSoundSideOfLife

    stingray junior and k-tek waist harness

    Ilari how does your back feel with the waist belt compared to a regular over shoulder belt?
  8. OnTheSoundSideOfLife

    Syncing Audio und Video via Metadata TC in Premiere Pro (Tentacle)

    Thanks David! Thats perfect, short and straight to the point. Unfortunately it confirms, that you cannot batch sync all video and sound files at once..
  9. OnTheSoundSideOfLife

    Mixer/recorder - changing the stereo width

    There are two options on the 744T (it's probably similiar with the 6 series) 1. You set your monitoring to 1, 2 MS. The first knob controls the mid gain, the second the side gain. You hear the encoded result in a 50/50 ratio and can adjust the width by turning any of two knobs up or down. You get isos in the end tho. 2. You set "linking MS" and Monitoring to 1, 2. The first knob controls the overall gain of the encoded signal, the second the width. You get encoded LR in the end. But you cannot record isos and the encoded version at the same time.
  10. OnTheSoundSideOfLife

    Syncing Audio und Video via Metadata TC in Premiere Pro (Tentacle)

    Yes, it was connected to the TC input. I'm just asking because I occasionaly work with people who never used TC in post production and I want to be able to tell them excaclty what they have to do in Premiere. So far from what I've seen/read it seems like you can only sync one clip at once with "merge clips" or use a (stupid) multi-camera workaround. It's not as easy as with Avid or Davinci, which is a bummer if you work with Premiere on Windows and don't have access to the Tentacle Software. It's almost useless that I provide TC for those people..
  11. Hey folks, may seem like a stupid question, but is it possible to sync Video and Audio in Premiere via Metadata TC without using the dedicated Tentacle Software? The footage was shot on a Red Camera + Tentacle and a 744T, both synced. I don't have the video material, otherwise I would just test it myself. So far none of the youtube tutorials were helpful, but my guess is, that you have to use the "merge clips" function. Any help is appreciated. SoundSide
  12. OnTheSoundSideOfLife

    DIY Boom Holder/Cradle (Fishing Pole Holder) Link?

    Kortwich has an adapter for the Boom Boy, have not tested it yet, but looks solid https://www.shop-ftt.de/de/boomboy1
  13. OnTheSoundSideOfLife

    Audio waveform search and match in ProTools?

    I was deperately looking for that waveform sync function and found SynchroArts "VocALign Project" being limited to 120 sec clips (no Ilok dongle required) and "VocALign Pro" limited to 300 sec clips (Ilok dongle required). "Revoice Pro" seems to be unlimited, but its intended to align waveforms and tune/stretch them (for vocals or ADR from different takes). Even though I took the same recordings from different mics, Revoice stretched certain parts and I couldn't figured out how to fix this yet. Vocalign seems to be perfect, it's really just a window where you analyze the source track and the dub track and they get synced within Protools with a mouse click. But unfortunately it gets re-rendered. When you trim your dub track to 120/300 sec, you won't be able to stretch it out again.
  14. I recently did the post production for a short movie where the actors tried to lipsync a pre recorded song on set, which later on was replaced with the studio recording and had to sound like it was recorded on set. Tried a few stock IRs in Altiverb, but nothing matched quite well, so we drove to the location and recorded some IRs. Used the Mkh 8040/30 MS combo, and a balloon (which worked the best). If the studio version of the song would have been recorded with the same location mic (mkh60), the results probably would have been better, but nevertheless I got a lot closer than with any other IR, like 85-90% with eqing. You can probably match it up to 95% if everything is recorded with the same mics, eq'd properly etc. It's true that you will never have the same acoustics without lights, people and other stuff in the room, but honestly you don't want anything noisey while recording IRs and if the room is too reflective you can try molton to damp it. The last time I was the production sound mixer, I recorded IRs after the shoot, because I new I would be doing the post production aswell. Never had a request from other re-recording mixers or sounddesigners tho, sometimes they don't even know what an IR is..
  15. OnTheSoundSideOfLife

    Timecode question

    Hi Brian, I just got a Tentacle myself and tested it with my 744T. So far the plan sounds good, but as Derek stated you have to be careful with the cables. I don't think that you can accidentally jam your 744T to the Tentacle by just using the wrong cable. You would need to be in the wrong TC mode on the 744T ("Jam once and Freerun" instead of "Freerun") and you would need to be in green mode on the Tentacle instead of red mode. Also you have to press "Jam" manually on the 744T, so there is no way that could happen. But the way you described it you cannot use the same cable (5Pin Lemo to 3,5mm) for both 744T and Mini, because you would send TC from the 744T (Freerun) to the Tentacle and then theoretically send TC from the Mini to the Tentacle. You would need the 3,5mm to 5Pin Lemo and Tentacle in green mode for the mini instead. If you'll only have the 5Pin Lemo to 3,5mm, the Tentacle is basically useless. The other way would be using just the 3,5mm to 5Pin Lemo by jamming the 744T ("Jam once and Freerun"-Mode) to the Tentacles TC and let the 744Ts internal generator hold it and then connect your Tentacle to the Alexa Mini and keep feeding TC. I don't see any difference between both methods, as both Tentacle and 744T have stable TC generators. The only difference is that the 744T switches to a less accurate clock after being turned off for 2 hours and the Tentacle doesn't have to be turned off at all due to long battery life. So with the first method lets say you turn your 744T off for 2 hours (maybe driving to a different location) and lose the TC, you have to send TC from 744T to Tentacle again, switch cables and switch Tentacle mode and then connect to the mini. While with the second method the Tentacle keeps running all the time, you do a quick re-jam on your 744T to the Tentacles TC, keep the green mode and keep the cable and just plug into the mini. Saves you one cable switch and one mode switch (yey). I hope that helps. Also correct me if I'm wrong as I got my unit just today and I have no "real world" TC experience either. Edit: I just realized that I mixed up your sentences (the one with the slate and the one with the mini), I think your plan seems solid then. SoundSide