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Philipp Sehling

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Everything posted by Philipp Sehling

  1. I have had the same problems with the maximum power warning, although they did not went away after connecting usb power to the cl12. Weirdly it happend on about day 20 of the shoot while never complaining before in same configuration. After it happend a few times more I stopped using one of my cart batteries and it never happend again, if I remember correctly. (but still not convinced that that was really the problem). Other Problem I had was also with the CL-12 "loosing" firmware and the question to update firmware now, wich sounds like the same problem Cujo experienced. Have not found a fix for that yet, so I let the 688 write the firmware and wait. Thankfully I just needed 4 channels the first time it happend and could just work with only the 688 for the rest of the scene. Will definetly remember to try a different usb cable the next time!
  2. Ha! I wish. I was just useing the same numbers for an example.
  3. Had that happen to me on different shots. If I remember correctly it was with sk5212 and Audio 2040. Lavs were DPA and Sanken but heard the noise also wireless boom with mkh8050, mkh50, mkh60 and I think CMIT too. Turning the power down on the range finder helps a little but turning it off was the only real fix. Happend to me mostly on close ups and something like that. Used this year mostly wisycom and didn't had the Problem, so maybe it has something to do with the compander?
  4. Yep, totally! And on the topic of equipment: my experience is that the rental houses will give you big discounts on long projects so you would probably have to match theire numbers. So you might just get 350 for you 700 Euro kit on a shoot with 50 days, or something.
  5. Well, it is at least a starting point. Also what Constantin said is also absolutly right and needs to be kept in mind. What would be your starting point Nick? And to specify again what I mean with TV/ENG-Guys as I don't know if it is the same in other countrys: The Position is mostly called 'EB-Assistent', sometimes 'EB-Ton' (EB standing for electronic broadcast) and you would be part of a 3 person Team with camera and editor) Doing sound is just one of the things that you would have to do. You would also drive the production car, carry the tripod, help with lighting things, keep the discs or cards in order, have something white for white balance and some cloth to clean the lense. Most of these guys will later start to do camera work and never touch a mixer again. I see very rarely someone over 30 in this position and the few I see work as employees for our public broadcasters. (I started out in this field and still sometimes work these jobs as winter can be rather empty of big productions.)
  6. Well, many commercials here will adr the lines anyway when they do the rest of the voice overs and the person is availabel for that. Who knows if that is only a stylistic decision or reflects also the recorded material. When you get to the level of fictional tv stuff it gets better, which is also due to the work of our union here in germany. Have not done cinema jet so can not comment on that.
  7. I think that the Market for TV/ENG stuff here in Berlin is quite destroyed. Rates can go as low as 150€ per day but are mostly between 160 and 180, without equipment. Standard kit would be a mixer, boom, 2 lavs for also between 100 and 150 Euro, sometimes more. This would be for bread and butter normal TV stuff like sit down interviews etc. I think this has also an Influence on the bigger documentarys, that are not that complicated. And It is also becoming very popular here to call these guys on commercials! Thats why I thnik that this market is also crumbling (at least here in Berlin). I was once asked about my rate for a commercial and quoted the minimum bvft recommendation for tv commercials (as I mostly do other stuff) which is about 500€ + Equipment and had to hear, that they haven't planed to spent that much money including(!) equipment. And that was for a tv commercial of a big shampoo company.
  8. Hey everybody! My first post after reading and loving this forum for quite some time! Had the pleasure of doing 2 comedy shows with them this year ( one scripted, one improvisation based ) and was quite happy with them! About 110 Days in total. I had them in a combination with SL-6, 688 and CL-12. Reach with Sharkfins was no problem but was dramaticly reduced with whips on the SL-6. Lavs were dpa and sanken and sounded good to my ears. I used a wireless boom all the time with the Kortwich VCP-20 into the normal bodypack transmitters. I also had a chance to try the cube style transmitter (mtb40s, I think) but thought that it was a bit noisier then I would have liked. I still think that it was a faulty unit but didn't had much time to check it out in more detail. My basic setup was with 1 mtp40 and 5 mtp41 but on some days could go up to 12 channels in a mixture of mtp40, mtp41 and some sennheiser sk5212/ek3241 combinations (depending on what the rental house had to offer). On these days I tried to give the Sennheiser ones to the least important actors cause they were just a bit noisier then the wisycoms. Although I didn't really hear a latency problem in the mix, I still delayed the Sennheisers to match the wisycoms. On some quiet scenes you could start to hear the wireless boom compander working but I think it was still okay for TV broadcast. Run time with black eneloop was till lunch with mtp41 and about 3/4 of the day with mtp40. I would normaly just change them after lunch. Over all I was very happy with them! They will probably become my go to wireless transmitters and receivers. Greetings from Berlin!
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