Tom Visser

Looks like a papaya picker and breadfruit (ulu) grabber to me.

Great for feeding Lectro bodypack TC inputs.

With the QRXQIFB it's just the A/B button, to change control between 2 Tx, which is a lot more straightforward than the IFB100/200. Every once in awhile I accidentally change the frequency of a TRX, or am gaining a different Tx than I intended when I'm using my IFB200. The Tx power of the IFB200 is a lot better though and more workable in real world situations. I sometimes wish the QRX has two knobs on top, to allow quick gain changes (and more granular than the suppoosedly 1dB steps - sometimes it seems a lot more than that).

Thanks Vin, recently made the move back to Big Island - GF got a job! I still have my biz set up on Oahu - reality of doing biz in this state.

There's not a lot of user info on this mic, not too common - but anyone have their own experiences to chime in with? It's more expensive than the DPA5100, which is my other logical choice, but I like the fact that it has a traditional mono shotgun capability, more traditional form factor, and actually don't need an LFE channel in the field. The 5100 can have it's LFE filter disabled?

Don't record 96KHz unless specifically asked. Don't even ask permission to if you think it's a good idea. There are a few good reasons to record 96K for certain projects. If it's going to end up being a Blu-Ray music special or special audio disc format, like SACD (in which case you'll either record 192 or DSD), or DVD-A (and even then this is more for marketing purposes than actual technical need). 96Khz latency is a fraction of 48Khz, approaching but not quite half I suppose, but not sure if this is an advantage, since it doesn't really help anyone unless there is a very very picky IEM listener. I believe I could hear the difference on certain material, in certain rooms, on certain types of systems, but very subtle, like how the splash of a cymbal crash sounds tonally, or how some abstract trait of its image decades in a very controlled playback environment, but not anything that I'd be able to pick out in a single playback take (or 10)... only after length intense study and analysis in a context that is totally outside of anything that resembles music enjoyment or dialogue intelligibility trials.

I do mono unless asked for poly. I seem to observe that poly is sometimes a default because it is more portable, slightly easier to manage from a data standpoint. I have received more specific request for mono than poly when anyone cares to show a preference, and it seems to be mostly from Avid users - think that Avid natively handles mono files (perhaps)? My own preference for mono simply is related to the fractured way in which my recorder handles backups throughout the day and is better to burn through a few smaller mono files at a time rather than digesting one huge poly file.

my GF is deaf (or doesn't listen, not sure which), so all Netflix watching is with subtitles on, guess I haven't noticed the problem yet.

Here's a possible answer... requires some experience on SSL consoles to get the reference, but the FLOAT button on console referee to lifting the input from a channel strip to bypass the mix buss and get routed directly to the (recording) buss that is assigned at the top of the routing matrix. Basically - it is a studio engineer's lingo for "ISO(lated) track". In the context of your original question, does this make sense if the cast members that are "floated" are always assigned to that track number and that the other tracks may change cast members depending on the context (or even have multiple cast mixed down)? but the idea of a "floater" being assigned to pickup cast also makes sense.

The DP should set the HDMI output resolution to 1080i (likely has it set to 1080p) and in HDMI cadence, set for progressive with 3:2 pulldown for 23.98 recording framerate. Then in the Flame, it should be able to be set for input 3:2 detection to record a progressive 23.98 file.

B6 are expensive and can get permanently damaged from repeat water exposure and the mic capsule to cable termination and the cable in general is really not up to snuff for rugged field use. The more I do reality gigs, the less I care about absolute sound quality and it is more about getting reliable / intelligible results and with gear that will last a full season of shooting. My mic of choice recently has been the M152 because they seem to last 8-12+ times out in salt water and when they die, are relatively inexpensive to replace. Sometimes I'll use WM, sometimes Zaxcom with on-board recording. Sanken COS-11D have also worked well when out in water, not so much when expected to submerge / dive / or get heavily pounded, but if they will be splashed or occasionally submerged - a fresh water rinse and they have always come back into service, but since they are not my first line mic for water work, don't have a lot of water exposures to confirm their overall reliability. B3 is a pretty good all around choice and a good balance between performance, fidelity, and cost. I'm curious to try the more expensive VT500WA, which are expensive, but really the only mic that I'm aware of that have an actual IPX rating - the cost could be worth it if I can regain some sound fidelity and have repeat reliability in water / salt water.

Go find a canyon / forest, handful of mics, and a big battery powered PA speaker or inverter.

They made the wrong choice, going with the Flame vs the PIX-E7, that has timecode input on BNC and superior audio capabilities - but not your department, just send mono scratch and don't worry about the rest. I would suggest encouraging camera department utilizing an XLR-K1M or XLR-K2M module though that has typical Sony broadcast style XLR inputs and also allows utilizing an on board shotgun mic. For doc purposes, this is important so if a camera goes rogue or is out of range, it will still have some sound being recorded from the shotgun, whereas if you plug in a hop to the mic input, it defeats the built in mic.

Make sure it's super VHS for hi-fi sound, and get your XLR to RCA adapters out to keep that authentic '80s vintage sound.

I own both the 8060 and the CSR-2, although haven't done an A/B, feel like the 8060 makes a better boom mic in better sounding spaces, while the CSR-2 has better performance in challenging environments, which would include camera mounting. It's main disadvantage would be its size / length in some setups - whereas in others that may actually be an advantage (getting the capsule slightly further away from the body). Sports car vs pickup truck - each has its time and place. you do make an excellent point regarding the high output in the 8060 though, helps to take the preamp out of the equation a little since it does have an inordinately high output level for a mic.

Haven't used them but have a reputation as best of the best for mobile location MI applications.

back in the day with Pass Labs X series amps and Meridian processor, these days had to lighten up the load and using a mid-range Denon receiver : ( Mostly Netflix and Blu-Ray via PS3, but feed from ProTools or Final Cut via a Blackmagic micro thunderbolt to HDMI box for work.

Sony VPL-VW40 SXRD projector, 3 LCR Lipinski L-707 monitors with a pair of Sonus Faber Wall Domus (due to low profile and matching tweeter) for rears.

The whole Zaxcom recording thing - yes it is very cool, can rally save your butt sometimes and allows you to get sound that you would never have been able to otherwise, but the day 1 / day 2 / day 3 cool factor is not the same as the day 60 cool factor. I asked myself "why the hell am I creating all this extra work for myself at the end of every wrap day"? thus prompting me to invest in a beefier recording rig and loving not having to wrangle and transfer micro-SD cards anymore. Now I only do it when I really have to - need sound 50' under water? Sure I can do that? Doing a long horse ride and have no F'ing clue what the plan is, where camera sound are going to be able to bound? Sure I can do that. Skydiving and landing in a moving vehicle, but don't know exactly where the vehicle will be - no prob, but excepting situations like that - no thanks, not ending my day with Zaxconvert anymore.

I think just to summarize again... I'm 95% production sound mixer, 3% post sound, 1% post post (enough to be dangerous and at least know the terminologies and challenges of the workflow), 1% shooter (occasional b-roll, but mostly personal special interest projects). There's a time and place for 1-man band, I get that. There's also a lot of cool gear to help make this all manageable, but the thought of 1-man band double system sound... ugh... audio bracketing... yucky.. I'd rather have a 1 track I know is good rather than 2 that I'm hoping are ok - with the fidelity of modern gear and ability to regain in post, just track at safe levels. Timecode... sure you can actually jam timecode over HDMI from the few pieces out there that are capable of doing that, but at the end of the day, really... just keep it simple. FS5 you have now, you can put a very nice shotgun up top. If you shoot in quiet locations, you solve almost all of your problems in one fell swoop. I like to tell people, sound is the easiest job in the world, all you have to do is bring a microphone and don't forget to plug it in. It's all the little (and not so little) problems that arise (you know, like walls, other people and their vehicles, rich people that like well manicured lawns, stupid bugs and inconsiderate mouth breathers, stupid nature and it's rain and rivers and stuff like that) that F it up for everyone. You can even carry a single lav mic and plug that into channel 2. It's not rocket science, knock yourself out if you think it helps, but as soon as you exceed the capabilities of what you have built into the FS5 or doing something that is critical - bring a mixer (person) on board. Subject needs powder? Sure carry that - dab away, but working with a model that needs pro makeup or high profile politician, hire makeup for the day... same with lighting, etc... If I were in your situation... looking at what you are dealing with, ask myself "self, can I hire a mixer for my projects?" If the answer is no, then take a look at the gear and solve it technically. Really... the FS5 is just not up to the task you are asking of it. You can bolt on Zooms, Tascams, have autonomous Zaxcom recorders - sure in theory it works, but K.I.S.S. Make the commitment and buy or rent an FS7 and utilize the 4 channel recording. Sony preamps are good enough. 1 shotgun on channel 1, and can use the Sony MI and fancy Sony dual receivers for channels 3/4 lavs, even with a spare input on channel 2 for what ever may come... PA feed, helicopter coms, 3rd lav, boom mic... and again, when you outgrow the scope of that kit on a particular day, need more lavs or really hectic shoot - just hire the mixer, modern production is infinitely scaleable up / down and we are used to day playing and hopping on different jobs - audio gigalos, it's not a marriage. Almost all non-scripted work really requires crossing coverage anyways, are you really going to cover 2 or more people with just a single camera? 1 shotgun for each and 1 lav for each is pretty elegant - works great for interviews too, 1 camera can lock off on the 2 shot and the camera you operate bounces between the wide and closeups as needed - no matter how you slice it, seems like you are either undermanned or under geared. My own personal camera rig is coming along pretty nice, A7S, Arri MMB-2 with a selection of filters, Sachtler tripod, PIX-E7, IDX V-lock plate and rigging - gonna add a Dedo light soon I think and some toys like curved sliders... and of course as a mixer I have a relatively infinite supply of sound firepower to bring to bear, but when I shoot, I don't. I avoid all the things that you are investigating / suggesting, jut because I know when I'm operating, I don't want to deal with the additional complexities of sound, and I would consider myself an "expert" at it too. Because I have the PIX, I basically max out at 4 channels (2 embedded HDMI from camera and 2 XLR inputs). If I needed to plug into a professional workflow - multi-cam, working with a mixer, I could, because the PIX has an LTC input. With the FS5 your never going to be able to fit into a "professional" multi-camera situation, so work with it now, but I'd consider it a nice B-cam for the long term. (or again, just rent when needed - camera guys are screwed because cameras change every year - really have to calculate if purchasing a camera really makes sense - it does sometimes but not always)

From what I understand - which may be incorrect, that the FS5 lacks the DSP to support 4 channel audio, so although you can use the MI shoe to use the XLR-K#M type accessories, it is still limited to 2 channels. The FS7, with similar physical features does allow 4 channel audio recording, because it is equipped with much more DSP capabilities. What you are asking for is possible (one man band shooting) but the equipment you are bringing to the table is not beefy enough to handle the workflow you suggest. Either upgrade to the FS7+XLRK#M or augment the capabilities of the FS5 with additional recording backbone, such as using a Video Devices PIX-E style recording device - such a recorder would allow you to use the FS5 preamp to drive a shotgun mic and then 2 wireless mics to the PIX-E inputs, configure routing to allow embedded audio from FS5 to be recorded to PIX. If you stick with moderately wide lenses, you can shoot verite style spots, keeping close to the subject, giving camera shotgun a chance to work properly, without too much near field distortion if you don't overdo it. I have an A7S with PIX-E7 and a Sanken CSR-2 for my own personal work that seems to work quite well if you are smart about choosing the location you shoot in. Even as a professional sound recordist, I would think that stopping to mic people and keeping tabs on picture simultaneously would be asking a bit much from me - and I do sound on a daly basis. Determine when sound is critical and bring in manpower to help when it warrants it, but otherwise K.I.S.S. for your workflow and shoot keeping in mind the limitations of your audio gear.

Just wanted to update this thread as Alexandr's email changed slightly... baliv@email.ua Just email him what you need and he accepts paypal. shown below are 4 more antennas in B25 (this time all black shrink with little green caps) and also a pair of Zaxnet antennas with a specified center frequency of 2.439 GHz. All this for $66 shipped from Belarus to Hawaii (don't hold me to this as I may have received a courtesy price break).

I just did this on a movie - setup in the hall between the actual machine and the control room. I did a scan on B25 and nothing out of the ordinary. There were fans that could obviously not be turned off. The machine was not actively scanning, but I don't think that yours will be either. (yes there were other non-MRI issues with this movie...)

Former Gretna resident - not in the market for an entry level job, but giving a little shoutout to my fellow Cornhuskers.

I think the history of "24p" should be brought to light - in that it is an abbreviation for 1080/24p or 720/24p, etc... which are HDTV standards, as are 1080/60i, 1080/30p, etc... These consumer labels are of course are actually all simplifications of 23.976, 29.97, or 59.94 as it would be unreasonable to account for the cycle frequency differential with respect AC cycle / motor speed differences. When the first prosumer cameras came out to support the new consumer HD standards, they often adopted the same consumer nomenclatures, but 24p never meant 24fps nor should it ever... nor is there a "true 24p" as it becomes an issue of mixing terms and standards between consumer and professional terms. If you ever see "24p" it should mean 23.976 and nothing but. If you mean to say 24fps, then say that, and don't use the term 24p. ...and the consumer standard also does not an never did note frames per second, it has always referred to fields per second. So 24p mean 23.976 progressive fields per second versus 60i which is 59.94 interlaced fields per second.