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CineStrega

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About CineStrega

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  • Location
    NYC
  • About
    Documentary mixer
  • Interested in Sound for Picture
    Yes

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  1. CineStrega

    nova!

    This. When I bought my Maxx I had to read the manual, and ask people online how to do basic functions. I still get super lost in the Nomad menus. Plus I'd love to see case designs improve to include weather sealing and laser engraving for ports.
  2. I used mine on a weeks worth of interviews without the battery meter moving!
  3. I use hardwired lavs a lot, but I'd be weary of mixing them with wireless since most systems have some latency. Just make sure you're on top of when people get up and sit down.
  4. I think thats an older Micron transmitter.
  5. I Don't know how many people actually use them, but for a lot of non narrative work I use a straight cabled boom. Essentially it's just a non coiled XLR running from the tip to a large cable exit at the bottom. It can be a little messy when you're on a shorter pole, but I see it as being sort of a middle ground between an un cabled pole and an internally coil cabled pole. It's more economical, requires less maintenance, and allows me to do things like run a stereo cable through the boom.
  6. I saw pictures somewhere of a French filmmaker who did a similar thing. I also have imitated this rig too with my Ergo-Cine
  7. If you do want a deep dive into Kubrick I'd also suggest Jon Ronson's doc about SK's archive.
  8. Her own process was pretty interesting too. She made another film about Full Metal Jacket, but it was never release (or finished?). Much like Molly Dineen she used a one person crew approach to making these films. She attached a Nagra SN, and a mic to the side of her Aaton to create a solo rig. It's a neat approach half direct cinema, half POV.
  9. It's been so long since I've used one, but I just remember not really liking the microphone for it's sound quality at the time. I was probably used to that growly Sennheiser sound, and thought the CS-1e was too flat compared to the 416. It's been awhile since then and I've really come to love working with CMITs and other flatter mics. Just tastes I guess.
  10. I just bought a pair for doing face to face interviews in and I'm really impressed. I had sort a blah reaction to a CS-1e I bought years ago and quickly sold, so I was a little skeptical at first. Overall I'm blown away by the amount of off axis rejection for such a small mic.
  11. I just looked at a file in wave agent, it's 30fps ND. The 3 and the 6 don't have clocks aside from the time of day settings so in order to get frame accurate time code you need to feed the recorders time code reader. You don't necessarily need to be connected to camera if you have a pair of small sync boxes you can set them with an app on your phone and have one feeding the recorder and one feeding the camera.
  12. The Mixpre 6 just has a TC reader so it needs to be fed by sync box or the camera's HDMI output (still can't get that to work with my camera). Recently I've used a Denecke JB-1 to feed the mixpre though it's aux input.
  13. I believe it's for real. Wooden camera has been sharing photos from the production of it on insta. I think it's kinda cool and playful, almost like the Ergocine. The VX1000 is a cult camera.
  14. If anyone in NYC is curious about experiencing an ambisonic speaker set up there is one at the Performing arts library in Lincoln Center. It's part of a really neat little show called sounding circuits. https://www.nypl.org/events/exhibitions/sounding-circuits-audible-histories
  15. I'd also be eager to hear about this flexible cable. I love the TL-40 they manage to have great isolation while still sounding clean.
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