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adrjork

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About adrjork

  • Rank
    Member

Profile Information

  • Location
    Italy
  • About
    Ex Concert Pianist, now Student of electronic music and filmaking
  • Interested in Sound for Picture
    Yes
  1. Really thanks a lot for all your precious advices!!!
  2. Is changing the internal cable a rapid or not? Let say I haveto change the mono internal cable with a stereo internal cable, is it rapid in a couple of minutes? And what about the section of cable from the end of the pole to the recorder? Straight or coiled?
  3. Hi everyone, I've found many topics (even in this forum) about boompole and cable (cabled vs uncabled booms, coiled vs straight cables, etc.) I've read many different opinions and as a newbie I'm a bit confused now. So, please, let me describe my situation before asking you some advices: I have a stereo mic (BP4025) with a XLR-5-pin plug. I'll use a Rycote blimp kit with XLR-5-pin plug too. Now I need a boompole. But the most important thing is that I'll have to follow my talent: let say that I'll have to move following her during a walk trying to capture the sounds of her footstep
  4. Thanks for your replies and advices. Finally I decided to go for AT4053B plus BP4025. AND, after a lot of thinking, I decided that on-camera mic is not the right solution for my project. Thanks a lot.
  5. Thank you all for your advices. I'm very honored of receiving your replies. I'll take a time to think about what to buy. (I'll do some tests with the poor means I own at the moment. If I'll obtain something interesting, I'll surely post my impressions here.) Anyway, someone of you have experience about booming or handling AT4053B vs SCX1hc vs modified MK012? Anyone can say which is the less problematic in moving situation? And (perhaps this could seem a bit topic-off) let try to forget the camera: what mic do you recommend for ambient noises recording? Infact, as I described t
  6. Thanks a lot Mike. Then I'll probably go for the Shure VP83F Lenshopper recommended by josephboyle. Anyway, just for my knowledge, anyone knows if there is a way to apply an operation, in post, to a 2-channel stereo track in order to obtain the only recorded space in common? (For example: L records both left and center, R records both R and center; I'd like to apply an operation to obtain the common center part from both channels.)
  7. Yes, the Shure VP83F Lenshopper was my first thought, and it has a pretty decent polar diagram, it's more an hyper than a shotgun, and it has also a decent S/N ratio. And the flash recording option is important (to avoid the bad preamp of the camera itself). It's true but unfortunately I'm not a foley artist, and as I've written before, I'm alone in this project, so I have to stand on my own two feet First of all, thank you all for your advices and your help. Anyway, just for curiosity, anyone can tell me which is in your opinion the less problematic mic for outdoor handling mov
  8. Thanks for your reply. So you don't think the algebrical solution from the 2 hypercardioids could work. Then, following your advice, which device do you recommend? Thanks
  9. Hi everyone, this is my very first post here, and I'm honored to ask for your help about a question: As a filmaking student I havo to make a little documentary with audio 5.1. The bad thing about audio is that I'm completely alone (I haven't a boom guy). The good thing is that this documentary will be almost without dialogues (it's a sort of silent and poetic tale about the life of an old woman). In this scenario I thought to realize the surround audio field completely in post, mixing different sources taken during "clean" off-camera sessions (so avoiding to capture audio during video
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