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About cjh

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    Hero Member
  • Birthday March 24

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  • Location
    Wellington, New Zealand
  • Interested in Sound for Picture
  • About
    Freelance location mixer since 1992, a few staff years at various places before that. Very happy that a resource such as jwsound exists for us all, a wealth of great information to be shared.

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  1. On the mocap shoots I've done put the lav (dpa 4063) on the side of the camera boom arm with a decent fluff on it, it just off to the side to avoid direct breath hits and it works well, especially for low level stuff. I also use zax wireless which you can adjust preamp on the fly and their neverclip system deals with unexpected level changes pretty well. That said high dynamic performance with fast changes is still tricky, especially on multi talent scenes. But that's the best thing about mocap is that it is a dream set up for the boom and that is always the primary capture mic. With a good boom op and remote tx ability you can pretty much deal with anything. I always look forward to mocap shoots because you have the consistent ability to turn in very good tracks. Lav mic on forehead when not using facial cam rigs which still sounds good but I prefer the arm rig though its a bit more fiddly to rig. We also put the Tx on a pouch on the back along side all the other boxes they wear, the removal of them is fast, we have them disconnected faster than the camera team disconnect the facial cam umbilical so all good so never an issue.
  2. cjh

    Favorite Slate

    This is more a question for camera assists, we supply the slates but they are the ones that actually use them. From my experience most prefer the original size denecke type slate.
  3. I'm doing a low budget film now that is mostly 2 handers and mostly only on 2 simple locations. I have a boom op, and a very good one at that. I do location sound because getting the best sound out of any scene is very high on my job satisfaction requirement list so I never do any feature work alone. Even on low budget I will push for a 2nd AS also, that often gets a no but makes prod realise that they really need at least a 2 person team as that is already a compromise in my books. I say to producers if they want good sound then I need a minimum of xxxx resources (which varies per prod) and if they say no to my minimums then I say no to the job. This is not about money either, it is just about being able to do my job and turn in rushes that I am happy with, way to many compromises when doing it alone. I applaud your saying no Fred and you said it for exactly the right reasons. 2 handed scenes may appear simple on the page but there are many things on the day that can complicate the sound capture of even single headed performances.
  4. As mentioned, if 3D camera to camera sync is a big deal and because of this all 3D shoots I've worked on cam dept has supplied the TC setup and given me one of their units for sound sync. I wouldn't go near it without thorough cam tests and a decent hire fee to sort it.
  5. one week in with the Pana DLX2, doesn't have the audio module so TC lock only, all works well and the fans are a lot better than a standard red build.
  6. thanks, it's the red way to release cameras when not everything is working (like the audio board), good to see Panavision is keeping up that fine tradition.
  7. Am about to do feature that may use the new DXL2 camera, it has the Red 8k sensor but they have a much upgraded cooling system so hopefully less problematic. Any user reviews re noise and workflow, audio/tc inputs etc, will be feeding audio and TC from zax ERX. Thanks, Chris.
  8. Did a few test records and visited post, the issue is as expected, it's the 2k notch filter on the TRX's that does it, unbeknown to me it also puts notch filters in at 4 & 6k. I think in the past I never used the 2k filter but for some reason selected it on last shoot. In reality you can't hear any difference with it switched in or out and I had it in as a precaution, would just be nice to know about the it also being at 4&6k before hearing about it post shoot. Always learning, which is good! C.
  9. Hey all Zaxcom users out there, had a very odd thing come up with some rushes from a recent shoot, that being when put under the post microscope most tracks (mix & Iso) had what appears to be notch filters at 2,4 & 6k (see attached pic). I use full Zax setup incl Fusion/mix12/zax wireless boom and body packs etc, have done for a while and have not had this issue before. I am at a loss to where these came from, I don't use any eq in the field, def had all the notch filters turned off etc. I have used the 2k filters in the TRX's to stop any possible zaxnet interference but what about the 4 & 6k etc? And while I'm here, what are zax users thoughts on the 2k trx filter, use it / not use it / etc. If it is the issue here I'm def switching them all off. Regards & thanks, Chris.
  10. Hi all, have a series coming up which involves a bunch of self drive car scenes, crew will be in follow vehicle. in the past I have done the standard wireless everything and recorded/mixed from follow vehicle. I'm just playing around with Nomad auto-mix and think I might use that and leave nomad in picture car with conservatively set levels and then just use one sender system for monitoring in the follow car, this will enable a more reliable link as it will be IFB only and easy to run an ext antenna etc compared to messing around with multiple wireless mic transmitters from pic to follow car. Curious of thoughts re auto-mix in general, I haven't used it in anger yet. (prob be 3 to 5 mic's in car depending on scene). Thanks & regards, Chris.
  11. Patrick, the Red cameras are badly designed sound wise, period. Picture wise the camera crews I work with say similar things about the usability of their design also. Granted they have been instrumental in moving camera technology forward and can shoot "8K" but they pale in overall design and functionality compared to the likes of Arri etc. One thing that hasn't been mention in this thread and is the worst thing about Red cameras for sound has nothing to do with on board rec of a scratch track or otherwise, it's their very poor design in regards to cooling. The fans and their control systems have always been less than ideal and the latest 8k versions are some of the worst of the lot. The 8K sensor and the heap of processing that goes with it creates heat, think quiet dialogue, think rolling resets, think warm locations, think about all those lovely performances lost to some "stupid" as poorly designed camera for sound.
  12. I've done tests with similar amp to above, 2W and 3W and compared them with my L com 1W both on walk test range with erx and rf explorer. The small 2/3W amps did give a little more range and gain but only slightly, where they were bad and the reason I no longer use them was the side band freq noise, they spewed out a lot more spurious RF around the center frequency which tends to get into other gear and also not a great thing when working on set with a lot of other gear on 2.4. Can't recommend the RF explorer enough when setting up and testing wireless systems, they are a wealth of info and shine a small torch into that black hole of wireless reception.
  13. cjh

    Schoeps MiniCMIT

    I got the rycote inv mount for my mini cmit also, great suspension design but when in use terrible wind noise when swinging making mount unusable. Something to do with the clamp mech affecting the chassis, not sure exactly but works fine in another more standard rycote mount (already pictured in this thread) If you have a mini cmit do not buy the inv mount!
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