Veit Norek

Hi Group, we recently sent a COS-11 for repair to Kortwich. Since the mic was damaged right below the capsule, their trick is to fix it with DPA cable. They said they had great results with that. Today we got it back and obviously it is still broken. Can you maybe tell me from the attached sound file, what the problem might be? Thanks in advance Veit FEHLERT01_3.WAV

That's exactly what the producer makes us do. We already had two little sessions with director, actors and us sound guys thinking what stupid unprofessional stuff we were doing. BTW each time different locations than the scenes were originally shot.

I deleted the video and added a link to youtube. I forgot to mention that I already recorded an ambient track facing the train tracks. I am surprised that you both suggested opposite ways of recording the noise. Robert says facing a quite, consistent corner and wandering ear says facing the noise. So far i faced the noise. The problem is that they don't really have someone who could work on these recordings while we are shooting at the same time. I know that this is not my problem but I am sick of endless emails regarding potential ADR. Guess I am left hoping that the producer comes to his senses 😞 So far they only have an assistant editor who sends info about difficult scenes but he has no clue about sound. The Post is done by one of these bigger post facilities... They never really have time and have to work super fast, at least here in Germany

Hi Group, I am currently shooting a TV-Series in Berlin and of course they didn't want to pay me to be on the tech recce. Now I am confronted with the most horrible locations. A little video as an example attached. Since it is a bigger series I didnt even wonder and thought. ADR, of course. So now I have the strange situation that the producer basically says, no ADR. For 80 days of shooting they maybe budgeted half a day of ADR. I know this is ridiculous and they should know better. Now he wants suggestions how to avoid ADR in horrible locations, besides changing the location. I already told him to hire a dialogue editor who really goes through all the scenes and taking parts from quieter takes. I suggested sequence shots, so no cuts, the whole scene in one take, but that doesn't suit the format of the series at all. Also I suggested to shoot two close ups at the same time, so at least you can edit the environmental noise. I know that the last answer to these locations is indeed ADR but that is not what he wants to hear. I am a bit clueless by now, cause I only show up on location in the morning and there is nothing I can do. Are there any magical tricks I can still try.... I think it is ridiculous that they choose these locations and not expect ADR, but this guy is breathing down my neck right now. Best Veit The video https://youtu.be/wEdjvFoC9aA

I am bored.

The first line under the video was: Private test made by Philippe CHENEVEZ That moment I closed the tab and forgot about it. "the only statistics you can trust are those you falsified yourself" :-) I am not saying he faked anything but a comparison made by the founder of the manufacturer of one of the products.....mmmmh

Okay I think I am piling up misunderstandings... I am just saying a boom in a wide shot or a so called ambience mic don't differ. They both add acoustics of course. I would never not boom any scene ever (so why record an additional ambience mic esp in a wide shot). I am still onto this ambience mic which Tom mentioned very very early in this post. All answers I am getting are about 101 of production sound recording and how they mix it in the post. I know all that, so I think my posts are being misunderstood. Cheers To this, how can the answer be this: Feels like a superweird pingpong Answering with the most basic 101 acoustics I don't get it, sorry

Jez, this is pretty clear to me. I also do dialogue editing on features. I am still wrapping my head around that ambience mic. Okay it is off axis vs on axis on a boom in a wide shot. But on an interior scene how will the ambience mic ever be without the actors voices? Pointed to the ceiling or not....

Could you please name a few? Isnt the boom in a wide shot kind of an ambience mic anyway?

Can you please post a link, I just can't find that product.

Can you point me ina direction towards these cables? How are they called, where can I buy this?

Samsung Galaxy S5 mini, latest OS works fine. The bugs I found are the same on my iPad.

+1

Zeigermann_Audio in Hamburg, Kortwich in Berlin. I am missing an aquivalent in Cologne, since this is closer to Marl. Maybe someone can chip in on this. I'd rather record it with 3 MKH 50's, or even 40's.

I think you should consider distinguishing between what you mix to your ears and what you record to your device. Yes make a monomix, BUT record a split track. Booms to L, lavs to R. Listen to LR mono and also send L+R summed to IFB, video village and maybe camera. This way for everyone listening and for playback you have the Monomix, but the editor has a tiny bit more freedom in using your audio by having a split track. They should pan both tracks in the middle anyway, no such thing as listening to stereo L Boom and R Lavs. But then at least they can for example when two actors hugging each other and you didnt manage to fully close the lavs, they can mute this moment on the lav track and keep sound for screenings consistent without touching the isos. Trust me they will thank you. The less they have to touch your isos in picture editorial the happier they will be. I see no harm in recording a split track while listening in mono. It is a huge benefit. So good luck on your shoot. But with this community backing you up you wont have a problem. Keep us in the loop and just shoot when you have more questions.

Yes did that No its not smaller, the "head" of the CMR is a tiny bit bigger than the one of the colette. Maybe 7-10 mm dont have it here yet. But afaik Colette is not a good option as boom mic since it is unbalanced and I guess sensitive to handling noise. Yes I read this one also. But it is about the CMR itself, not a comparison to the Collete setup.

Hi folks, I recently bought Colette cables for my Mk41's, to use them as a very small plant mics and also in cars. Then 2 weeks later I discovered the Schoeps CMR to put it straight into your transmitter, which is ideal for my purpose. Schoeps offers me to send the Colette back because I think I don't need them anymore. But I am wondering if I am missing something. Is there a possible scenario where I would need the Colette's over the CMR. Or where they would outperform the CMR. Thanks and yes....first world problems :-)

As you say it yourself. Le creme de la creme. Wish I could have a 2nd boom on every film I do, not very common here in Germany, only very big top notch features have this. And a 2nd boom mic and an ambient mic is quite a difference. Can't imagine myself recording a track that is only roomy, noisy, reverby of a scene.

Not too bad. Actually quite good. From Congo :-)

So whats the solution so far? Still looking for every single key for every cue?

So many routing options. Matthias, do you send a stereo hop to camera providing split boom and lavs? If not there is one channel of the cedar unused, or not? So how I understand it, Michael uses it as some kind of aux bus, dialing sources in and recording it back on iso's. Matthias uses it as an insert in the mix bus. (here it is not clear to me if mono or stereo mix). Which means there is no iso of a NR'd boom? I tought about the following setup: Boom goes through aux to channel 1 of cedar and is recorded back to an iso, this way you have clean boom and NR'd Boom as isos. Then you make a monomix of Boom of your choice and all lav's and send it to cedar channel 2 which feeds camera hop and ifb. My bet, you would need to record this back from the cedar for editorial. This way you create a overall noise reduced feed for everyone listening. What do you think? Am I missing one downside of this setup? Veit

Any news on this?

I don't consider myself as a junior mixer, but honestly have never heard of it. I mean we are not talking stereo ambiences from mass scenes or walla's? So basically you are saying you make the extra effort of putting an extra mic on set (which has to be dealt with by your boom op) so people of the crew know, that there IFB is working? Because where ever you put this mic, it will never sound like the boom, so as a room tone, or as a noise profile for noise reduction it won't really work. Also basically every second it is "quite" on this mic it will also be "quite" on your boom. So "room tone" or noise profile can be taken from there and will match 100% at least one part of a cut that needs to be smoothed. With faster and faster shooting, and also "wilder" camera work, the love and care this mic would need would be too much for me, at least for this outcome. Please tell me if I am missing something.

I consider myself providing material for the dialogue editor rather than for the sound designer. Of course there are exceptions like unique places or unqiue sound effects which are hard to get for any sound designer. Assuming also there is no 2nd unit/or utility to record it another time. To let post find these roomtones and wildtracks I rely on TC, my notes and a little trick by diverting the circle function from its intended use. Every non-sync sound I am recording gets circled on my 688, so that the file name starts with an @. After wrapping a film I make a extra sound report containing every roomtone/wildtrack I recorded during the project. Because it is rarely something that would end up in a sound designers archive, rather than a noise needed to provide consistency in the soundtrack (i.e. wideshot two actors sit at table talking, third one is washing his hands, on the close ups, of course there will be no handwashing so you record handwashing as wild track for the dialogue editor...just random example) I don't really record my voice to announce the recording, in contrast when I am recording a nice ambience. So all files with an @, have the same take number like the scene it was recorded in, same shooting day, same TC and in the notes I will write down exactly what it is. That is how I hope post finds everything I recorded just for them. I see how Tom is doing it and might consider it, but everything is in the metadata and I hope they bother looking.

Apologies, I guess I have to install Tapatalk to follow my own threads better. I bought the INV-1 cause it is much smaller, but recently I discovered the Schoeps CMR which is awesome and I guess INV-5 works better with this setup