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OnTheSoundSideOfLife

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Everything posted by OnTheSoundSideOfLife

  1. I don't know if this is phone or firmware dependent, but when I was at IBC, I used the app at the Sound Devices/Audio Ltd. booth and it only took seconds to start. Bluetooth was off before that and the TX was already on the list once loading was finished. There was basically no pairing process and my phone (an old Galaxy Note 3) never connected to a TX before that. Even if it's not an ideal solution in terms of range, I feel it's better to have that feature, than not have it at all. And you don't need any additional hardware for that, besides your phone.
  2. To the MiniCmit users: Do you guys miss the filters (I never used the Cmit5U)? I have a Pianissimo and I feel like the DPA 4017B would be more flexible. I can just unscrew the Osix, attache the swivel and use it indoors without a problem. Plus I could probably unscrew the capsule and switch to 4018B with the same Osix. I prefer the sound of the Mini, but the current suspensions don't seem ideal for indoor use (someone using the Rycote Invision Lite Boom?).
  3. (Un)fortunately I'm going for Audio Ltd. now, so I stopped investigating on this topic, but I would guess that upgrading the RX would be the better path.
  4. I think Constantin is talking about digital noise/artifacts (similiar sounding to those of lossy mp3 files), not the general noise floor. But it's so subtle, that you can barely hear it in the raw files. If you heavily compress them, it starts to become more audible. At least I think that's what he is talking about.
  5. Based on what you said in the previous thread, two files should be noisier than the other two, because they are full digital. Listening to the ambience only and watching the spectrum in Pro-Q, to me file "4017-1" is Lectro (least noise out of the three systems), file "4017-2" is cable (no noise), file "4017-3" has the most noise and a cut off at 16k, so Zaxcom is my bet. File "4017-4" has slightly less noise than Zaxcom and it has slightly more emphasis on lows und highs, while Zaxcom generaly is more mid heavy, so Audio Ltd is my bet. While I can hear the differences in noise, to me the sonic characteristics stick out more than the noise that would be buried in ambience tracks anyways. I guess it becomes more of a problem once you start to compress the dialogue tracks in post (which I never do btw, I always try multiband compress/tame the parts that are too dynamic and gain automate the parts that are too quiet, but I never throw a single band compressor on the whole dialogue track). But again I don't mix TV shows, and I guess there are certain standards, lack of time etc. that force people to do it. I think the problem gets more obvious on crappy playback systems that have an emphasis on that problematic frequency area.
  6. Tentacle offers a Timecode Tool for Windows that translates Audio TC into proper Metadata, which then is syncable within pretty much any Software. Never tried this myself though. http://tentaclesync.com/timecode-tool
  7. I only compared it with the DPA Concealer, so no clue about the RM-11. Ursa has round edges, less mass and isolates slightly better overall, but it's not a magic noise killer. Here is a quick comparison with a regular t-shirt: Dpa_Concealer.wav Mini_Ursa.wav
  8. 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
  9. 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.
  10. 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.
  11. 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.
  12. 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.
  13. 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
  14. Ilari how does your back feel with the waist belt compared to a regular over shoulder belt?
  15. 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..
  16. 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.
  17. 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..
  18. 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
  19. Kortwich has an adapter for the Boom Boy, have not tested it yet, but looks solid https://www.shop-ftt.de/de/boomboy1
  20. 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.
  21. 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..
  22. 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
  23. Do you want to use this as a plant mic or do you want to make a ccm out of your capsule?
  24. I use 8040 and 8050 with an mkh30 and prefer 8040 in terms of image. It feels more like a panorama, with the 8050 you can hear holes in the image (depending on the source). But it's more focused and great if you have a specific sound right infront of you. Also the 8040 sounds very neutral, the 8050 has a little bit more mid warmth. Overall if I had to choose, I would go for 8040. In terms of 8000 series vs old mkh: I have not tried the 40/50 myself, but listened to some recordings and there is some nice warmth, that the 8000 series is missing (it sounds super clinical and almost boring). On the other side the 8000 series picks up more details and in combination with an mkh 30 you have the best of both worlds. If you want to hear the difference between M/S and ORTF you can go on soundcloud and type "8040 ortf" or "8040 30", there is a couple of recordings. Also I can send you a comparison of 8040 and 8050 with some simple rain I recorded out of my window, it helps to understand the different imaging.
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