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whatalob

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Everything posted by whatalob

  1. the title says it all. They came separate and I just can't get my head around it. The plug won't fit through the hole, the release thingie of the XLR gets stuck just before it can fit through. Any ideas?
  2. thank you all for the interesting insights. I will try my best.
  3. Not sure if i use the right term here. I am talking about those shots where the camera follows the subject pretty close up. Either hand-held or steadicam. Any tricks on capturing clean action sound without the extra footsteps and steadicam rattle? I guess one can go for muting shoes with foam, but that wouldn't work so well on location say on a gravel terrain. Or is it a case where it has to be done in post?
  4. That's interesting. An analysis of how all this affects the quality and artistic content (if there is one) would also be so. Perhaps this book does that. Thanks for the info.
  5. yes I usually use the M capsule for dialogue. Truth is I bought this one 2nd-hand. It did have some problems when I got it and it already has been to the maker for service. Thats why I post this question to get ideas about what the cause could be.
  6. I 've been getting a lot of sibilance when recording dialog with the MSH-10 mic, which is otherwise a nicely balanced sounding mic. Just wanted to know if it is a matter of technique, microphone characteristics or an inherent shotgun design problem.
  7. I have been wondering about this for quite some time. I couldn't help but notice that on virtually all network series while there is one or a couple of "creators" that write or direct the pilot or a few of the first episodes, after that there seems to be a different director and writer. I was wondering why that happens and how it works. Will the creator always be there overseeing things or do they just give out the main idea and style they have conceived and then leave the other to continue? What is there to gain. Efficiency? Is it cheaper? Or is it just a way for young directors/writers to gain some experience?
  8. any one knows any news on a rumor that a 2 channel pre-amp module would be available for the 2 line channels, to give 6 mic-pres in total?
  9. this thread is great as I 've been wanting to upgrade my cheapo Rode pole to a proper one. at the moment I am between Ambient and Vdb. Any recommendations on which one to prefer? I think I am going for cabled as so far the uncabled Rode has causing me a lot of noise troubles. On the other hand I would like to be able to switch between my MSH10 stereo mic with a mono mic, which would mean a different cable would be neccessary. Any thoughts on how to go about that issue? thanks
  10. All of this is true and that was my thinking when deciding to fork out the cash and I haven't regret it as it is truly great. However, as budgets keep shrinking, people are trying to get rid of the professional sound person and either camera operators or producers double up their roles. And when my local film-school gets equipped with Zooms for recorders and students are more than happy with the results (using the internal mics even) then I can see where it's going. Non-sound people don't care about the quality of the converters and preamps of a recorder. Also, having read in this forum about Plural Eyes I went and had a look. Seeing the way they market it as the super hassle-free syncing device, I can imagine how perhaps I may never need to use the TC capabilities of my recorder at all. But as I say, no regrets for using a quality device on the job
  11. Hi Philip I was just writing a lengthy answer explaining how I have truly been searching and reading in order to understand the advantages of syncing with timecode. Your answer does the job well. When you say scratch audio, do you mean a reference tone? Do people in the US still use old school clappers as a backup? Most filmmakers here are happy enough and don't care about sound too much anyway. I do occasionally do projects where I might also do the sound post as well as the production sound so am trying to find the optimal ways. Nobody owns TC slates or cares, but I have invested on a TC capable recorder and hope to use it. Unfortunately I don't get many opportunities to try it out, but really want to be ready and knowledgeable when I get the chance. thanks again
  12. OK, I 've only been working with clappers in the small bankrupt country I live in. I have read everything there is about timecode sync but am not sure how to actually do it. So say in a scenario of a single camera (say Sony Z7 which is common over here) and my Nagra VI. How do I sync the two devices? What kind of cable when Z7 is FW and Nagra Lemo. We know the framerate is 25 and I guess a free-run is what we need. Or do we?
  13. I'd like to add my own scenario. usually for my work I use an MS boom mic and a couple of lavs(Audio Technica) on My Nagra VI. On the occasion that I need more channels the only option that I have is to use someone elses Sennheiser G2 lavs. I only have 2 line inputs left though, so I changed the input sensitivity to -6db,and leaving the lavs as is, i.e. as if I had used them for a mic input. It seemed to do the trick. but I still wonder: Is this bad gain staging?
  14. Regarding the MSH-10, its the only microphone (plus lavs) I use for a TV music-doc series. Its always acoustic traditional music, 90% outdoors. For up to 3 instruments and depending on the shot (as well as the instrument relative loudness), the boom is enough to get decent results. I also record short dialogues of up to 3 people, but there handling noise is often a problem. The reach is fairly short. If the distance is more than 2 meters it starts sound too distant. Overall, a great sounding mic. I use another Pearl for my studio music stuff as well
  15. oops sorry. of course I meant 24. it will only accept 16 or 32 fp. Indeed its a not particularly pro version
  16. update on this is that it looks like the liquid version of Avid, being the "lite" one just doesn't support 16 bit audio.
  17. I shall get on the case and post the solution when we got it
  18. Nicole (and the rest), I am using the NagraVI recording at 48-24. The three cameras all record on-audio (obviously at 16bits and they are of the Sony Z-7 type or alike) so that the editor can start editing right away using the 'on' as a guide until I deliver the final audio. We work with an old school clapper slate to sync. So I guess the editor starts up a 16bit project right away and then is unable to insert my 24bit audio. She uses Avid Liquid7. Not sure what the best solution would be actually. Me to deliver 16bit, but still record at 24 for better dynamic range, me to record straight 16bit, or her to start 24bit projects. I am not even sure if the terrestrial TV station has any restrictions on bit-depth, but I will try to find out. I also don't understand why this professsional cameras record at 16. By the way the show is about traditional music so I actually record live music on the field, apart from dialogue, so the best possible quality is imperative.
  19. so I got a gig for a tv dcumentary series where I do the production recording, but also deliver the mixed and cleaned up audio to the editor. And so I did, only to find out that she can't import the audio to the Avid project. After some troublesome trials she found the problem to be that I delivered 24 bit audio (48KHz) but because the DV video material uses 16bit audio - even though none of that is kept - avid won't accept 24bit material. Please excuse my ignorance, but is that so?
  20. yes remote audio look like the right people. thanks to all. I'm grateful to have found this forum
  21. Hi there I'm trying to find info on two cables for the Nagra VI. The one is the power cable that will go from the Hirose connectors to another device feeding 12v. The second is the Timecode cable. What are the options? There is mention of the open-ended cable but no further info anywhere. Any help on the type of those cables and online places to buy them would be great. Thanks
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