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pillepalle

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About pillepalle

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    Duesseldorf
  • About
    Location Sound
  • Interested in Sound for Picture
    Yes

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  1. If you work with pros they never use a brush on differernt persons anyway. That's one of the first things you learn as a MUA. You have multiple ones for the Job and wash your brushes when you're back home with a cleansing solution or shampoo after each use. Greetings
  2. Lectrosonics seems to have a new model: https://www.lectrosonics.com/IFBR1b/product.html Greetings
  3. Hi Jim, I use the Rode Stereo Bar and I like it. It's made of plastic with metal threads (for microphone stands) and there is also an Adapter for 3/8" screws included. The Clips on the microphone clamps can be used to vary the height of the mic and there are markings on the bar are useful for alignement and the distance. As mentioned there is no suspension on it, but on a stand you don't really need it, Greetings
  4. The main out is a balanced signal (for longer cable runs or professional gear) and the sub out is an unbalanced signal. For your DSLR ist's fine to use the sub out as far as the cable from the recorder to the camera is not to long (because of possible interferences). You can record directly to your DSLR but the preamps on these cameras are only consumer level so keep the levels on the camera low and feed it with a strong signal from your recorder. Usually camera sound is only used as scratch sound and you sync the audio from the recorder to the image in post to get better results. Greetings
  5. Haha... I think your right. This evening I've tried to change the settings but now it adds the delay on all channels. I'm quite sure it worked for a while because I've made a couple of recordings that way. But I have no idea how I made it work and why it didn't work now. I came home late this evening. I'll give it another try on another day. For now I can't make it work... Greetings
  6. I've bought mine in April this year. There was once a firmware update, but as far as I know no modification on the units. It's a little fiddly to set it up correctly and I also had to make a couple of tries. Here are some snapshots of my settings. The analogue audio comes in on channels 1+2 and the camera audio on channel 3+4. Usually I feed a timecode-signal from my tentacle sync to channels 1+2 and the camera audio goes to channel 3+4. I hope this helps Greetings
  7. In this case I guess your settings on the Atomos Ninja V are wrong. I also use it and I'm able to set a delay on the analogue input that doesn't affect the sound coming with the HDMI signal. It get them both perfectly in sync.Like you've mentioned - it would make little sense to add a delay on both signals. Greetings
  8. These kind of things can happen to every manufacturer. Products these days are complex and production cicles short. But in this case I agree with IronFilm. Or something works properly, or it doesn't. It's simple like that. Greetings
  9. Why don't you simply sync the first audio file to the video footage and append the other audio files to the first one manually? The recording should be without gap (if the audio was splitted by the recorder) so you don't have to sync each audio track seperately. If you have different video files you have to do this operation once for each clip. Maybe someone else has a better solution. Greetings
  10. You might consider the new DPA 2028. Costing about the same as the Neumann KMS 105, with interchangable capsules it seems to be a good choice for your application. Greetings
  11. @ Werner Althaus Yes, they mainly use them on vocals. Greetings
  12. Cinela is probably the best solution around, but for people like me that are no full time professional sound guys and on a budget it's hard to justify the investment. Using an MHK 8060 and spending more than the cost of the mic for the Windshield/Suspension (with accessoires) makes you thinking about the benefits of the Cinela and the downsides of a cheaper solution. So I decided to go with a Rycote System and it works fine for me. I know that there are better mics and windshields around, but I also know that my work has a much higher influence on the result than any brands product Greetings
  13. The microphone choice on the NPR concerts is due to the small distances of the musicians and crosstalk. But it's a good example that the most important things on a recording happens infront of the microphone Greetings
  14. As far as I know on the GH camera models that have the same timecode feature the timecode sync isn't accurate. It's always a couple of frames off sync. I have no idea if they fixed that in the S1H, but honestly I wouldn't rely on that. Better to use the tentacle sync on one the left audio channel of the camera (with a splitter cable) and use the right channel as a mic input. Or going directly into the mic input of the camera (without splitter cable) using the tentacle mic as scratch mic. Greetings
  15. @ constantin If they couldn't be synced to other devices what sense would make the inbiult timecode generator? As far as Ulli from Tentacle mentioned bluetooth is not ideal for time critical applications and that it's reccomended to jam the units via cable. For monitoring purposes bluetooth is okay because they refresh the signal only once a second. Maybe they can't jam other devices so the classical Sync E is used on devices that usually have no timecode option. But it seems we have to wait and see... Greetings
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