Brandon Pert

Go to REI and try a bunch of shoes on. I tried on almost every hiking shoe they had and went with some Lowes. I have pretty narrow feet and this was the best fit for me. Everyone's feet are shaped differently, so try some on and see what works for you. The staff at REI are actually quite knowledgable about the different brands and their strengths and weaknesses.

Does anyone have a report on the new reference standard mics from DPA? Looks like a pretty sweet system, would love to hear from users in the field.

I accidentally clicked this and now everything appears as if I've read it. Anyway to undo this, since many threads were already marked as read?

Richard- Thanks for the detailed response. Is it necessary to edit the TC start info for each take because you want it to reflect the files exactly? Is there a way to mark start timecode on the files for a rough TC start time (you could hit this and record at the same time)? It would be fantastic if Zaxcom and Sound Devices would develop a way to wirelessly send sound logs to your ipad, or iphone. I would pay good money for that. Thanks for all of your help. MovieSlate is looking mighty nice. I think I'm ready to make the jump.

Apologies, I was looking at V1 of the manual! The newer manual doesn't mention anything about a Rec Run signal coming out of the camera. The new manual says this about Record Run: Internal TC, Rec Run ␣ Use: Single camera productions, either MOS or where a classical slate is used for alignment of image and sound. Guarantees continuous time code for each storage medium. Works alos with over- and under-cranking. ␣ Setup: The camera is set to Int TC Rec Run Regen. TC is only increased during record by 1 frame for each image generated by the sensor. The TC counts with the project fps set on the camera as time base. Normally, the TC hour value is increased by 1 hour for each new reel, usiong only hours 01-20 for reel 1-20, and then restarting at hour 01 for reel 21. ␣ Variations: Might be used on a production normally using external TC for high-speed scenes, then returning to Ext TC for regular scenes later. ␣ Restrictions: None.

@Marc Wileage - I saw that app awhile back but never downloaded it since I don't own FileMaker Pro. @Richard Lightstone- Do you use the timecode functionality of MovieSlate? I thought it would be nice to import a .csv file for those occasions where I'm in the bag with a boom op just because we are running around grabbing shots and it makes each move between shots faster. For a strictly cart based mixer, I could see how you would be able to stick with MovieSlate solely.

Bottom line for me is the article is irresponsible and as others have said the wording should be changed to reflect all of what he is talking about applies to WEDDINGS!!! The title of the article is completely misleading. I can see the benefit of this workflow on wedding shoots, but it is definitely not a technique any of us would use on a film or television shoot. Steve Weiss - You need to change this article and make a retraction. If I get a phone call where someone references the misinformed article that you have published on your site, I will be livid. It could be a useful article to someone if the distinction were made between this type of shooting and a professional workflow.

I use my G3s as Comteks because I have them left over from when I upgraded to Lectro's. On my Fusion I have found that setting the Sensitivity on the TX to -33 or -36 with the AF Out on the RX to +12 usually gives me a decent level and enough headroom so that I only very rarely hit the limiters. Sometimes I have to adjust as necessary. It's a bit of a compromise in some respects, but I like whoever had the idea of buying cans with a volume knob on them. I may do just that... I think the G3s sound better than Comteks but aren't quite as sturdy. Someone dropped one of my RX and now the LED won't turn on. Oh well, still works.

From the Alexa manual: Rec run is currently without use as the camera cannot record internally. The manual doesn't even mention the possibility of a record run output either.

Seems like some positive steps are being taken with this app. I have been watching and waiting for the ability to import .csv logs from my Fusion. The functionality of being able to turn the .csv file generated from Zaxcom machines into a tidy .PDF is key to me and what I would pay money for. All of the column widths would of course be adjusted automatically (something that Wave Agent does not do well - notes and track names are cut off making it somewhat useless.) It may be involved to perfect the .PDF creation but it would be worthy!

I drop a CF card with the DIT as soon as we wrap with a SanDisk FW800 reader.. Even if they use a usb port (which happens when the firewire ports are tied and in the middle of transferring), DIT hands me back the card by the time I pack up my gear. No muss, no fuss, and good for the environment too.

It looks sleek and sturdy Charlie! Nice work!

It's been posted before but the link changed so... Arri Simulator's for Alexa and AlexaPlus....

Alex had a great answer. Here is an old Sound on Sound article that discusses the topic as well. I just had to do playback on a show. I had the composer provide a separate click track for each song ahead of time with the heads of the files lined up. This way I could mute sections of it as needed and didn't have to worry about breaking out beat detective or doing any extra work. I would think if you can get in communication with them early enough, most composer's would provide this since they usually have a click track in their session already, all they need to do is print it.

Oh yeah and I don't like the sound of the MKH60. Forgot to mention that... Just sounds unnatural to my ears.

Since this has turned into a bit of a discussion on the whole Sennheiser line rather than just the 8060... I love the sound of Sennheiser. I should preface this by saying that I don't often do run and gun work but mostly low budget features and shorts where I have a boom-op when I mix, or I am booming for another mixer. I own a MKH30, MKH40, MKH50, and a MKH416. The sound of the MKH50 is my preference as long as you have the frame line to get it close enough. I love the sound of the 50 compared to the 8050. As others have noted it has a much richer and warmer sound. The 8050 sounds thin and slightly harsh to my ears in comparison. The 50 sounds amazing 1-2 ft away. It can really draw out whispers and has a very present and pleasant sound. It can even do well at 4 ft away depending on how loud the dialogue is. The 40 and 30 I use in a M/S setup, and sometimes bring out the 40 for dialogue when the situation calls for it. I also fell in love with Schoeps and have a CCM4/CCM8 M/S rig. I'd eventually like to add a CCM41 and a CMIT to my kit, I think I would use both over the MKH50 in certain situations. When I boom I work with a MKH8070 often (on those wide and super-wide shots) which is a great sounding long distance shotgun. I'd love to add a MKH8060 to my setup after hearing it, but have never worked with it - only had a brief listening. Whenever the shot allows us to get it close enough I reach for my MKH50. It sounds great on all kind of voices. I also have a Rycote Kit for it too and like to use it outdoors when the shot allows for it. I like how it doesn't emphasize footsteps on those shots on the move like the 416 tends to do. Indoors I use an Invision mount and try to use the supplied Senn windscreen, if the plosives are bad I'll slap on a Rycote softie. For run and gun work the 8060 may be a good choice as others have mentioned. When I run and gun, I don't own a 8060 so I mostly use my 416 but carry my 50 in the bag and swap it when needed (especially if you head indoors).

Marco- Red sues arri discussed here--->

Just had the pleasure of working with the Alexa on a seven day shoot. I didn't send audio to the camera as the DIT was syncing on set and I prefer not to unless they ask for it for the reasons Jeff mentioned. It was amazingly silent and able to hold timecode! Imagine that?! Not to mention the images it produced looked great! (Dare I say that on a sound forum?). We came back for a reshoot day and the budget only allowed for the RED MX. The camera crashed at least 8 times in the first few hours to the point where they had to call in a replacement RED. 7 days with the Alexa - not one crash. I'm definitely looking forward to working with this camera again.

@mikewest - I'd love to hear recordings of that monster. It must have been a real work out tracking the ball for a whole game. @grob - Very cool! Those remind me of these cement radar shaped dishes in the Baltimore, MD in the inner harbor just north of the Science Center. They are spaced a ways apart and yet two people can whisper to each other and they act as "sound mirrors". @Scott Smith - Your mic is bigger than my mic! Would love to hear some recordings from that beast. @Izen Ears - I introduced myself to the forum a ways back but I'm Brandon Pert nice to meet you!

This is an interstitial I sound mixed a few months ago. I thought you guys would get a kick out of the giant microphone. I rigged up a MKH-50 wirelessly in it, as well as a couple COS-11's. We were shooting with about 8 cameras, so boom was a bit far out of the frame and out of the question. Pardon the 30 second commerical at the beginning...

On day 13 of a feature. Lockit box on camera but none on Fusion. Everything syncs up within one frame accuracy for duration of shoot. I re-jam at lunch as well.

Thanks for the support guys. I know that it is camera's job to make this work and I should worry about recording good audio and providing a proper timecode feed. I just thought I might be overlooking something since one of the days everything synced perfectly. I am providing a slate matched to my audio files, and a sync box that is matched as well, it is there job to make it all work after that! The editor is aware of the offset issue so in my opinion I have done all I can.

I am jamming my TS-3 and SB-3 from my Fusion in the morning and at lunch. The SB-3 is jamming the RED MX with timecode with a lemo->BNC. Recorder, camera, and SB-3 are all setup at 23.976 fps. The RED menu has the appropriate settings of OUTPUT and JAM SYNC checked. The TS-3 and the audio files match perfectly. The problem is the timecode in the RED files is one frame late. What makes this even more confusing, is that one of the days of the shoot ended up auto-syncing in Final Cut using the Match Frame function (by Timecode) just fine. Does anyone have any idea what is causing this or if there is a way to fix it? I realize that there is software that can bump the timecode of the audio a certain amount of frames.. but the slate is matching the timecode of the audio files just fine and it would be nice to know how it was able to auto-sync one time. Anyone have any ideas?

Just a thought, unless you special ordered it, it's not necessarily the latest version firmware. It could have been sitting on the shelves at your dealer for awhile.

I got Kit 2 for my MKH50 because it was the recommended one from Rycote and I hoped it would pay off when it got really windy. Maybe not, it's only 1.57" (40mm) longer and .71 ounce (20 grams) heavier than Kit 1 and the length difference is located in the body, not the endcaps which are identical on both. This means that you can position the diaphragm just as close as you can with Kit 1 or move it back slightly in windy conditions where the extra cushion of air may be beneficial (how beneficial I do not know, seems like such a small distance to make a difference). Feels good when you pay that much for a piece of plastic to know that it was the piece of plastic designed for your mic. With the minimal weight difference and ability to position the mic just as close to the frameline, I say go with Kit 2.