John Blankenship

I checked my master list of things the world should live without, and balanced RCA was on there.

Like the majority here, I agree, the choice boils down to "pro vs semi-pro." Not to be discounted is client perception and reaction that can translate into higher rates and/or repeat business. Even if no one says anything, there are many who, until they have something else to go on, gauge professional level by gear. The vast majority of set denizens never hear the raw tracks, but many still notice what tools are used.

Sanken issued an RF update for the CS-3e for Serial Numbers Prior to #2792 that improved the physical ground connection and reduced exposure to Radio Frequency Interference: https://plus24-web.s3.us-west-2.amazonaws.com/wp-content/uploads/2017/07/25143604/CS-3eModificationMay2010.pdf

Harry -- Quite often free advice is worth exactly what you pay for it. However, in this case, you've been offered gold for the price of a breath of air. Wisdom is to take every word from the above two posts to heart.

See if a phase reverse barrel (or cable) between the mic and the HM makes any difference.

In talking with several healthcare workers who have had their shots, and who also have experience with others, the consensus is that there is little effect from the first shot, but sometimes a bit more with the second one, where several people have had some muscle soreness, lethargy, etc. for about a day -- but seldom worrisome.

The video earlier in this thread, while nicely done in its own right, does not illustrate some of the key differences of the two mics. What it does clearly show is the rising high end of the CS-M1. In my world, when a really natural-sounding short shotgun is needed, the Schoeps CMIT shines. However, for run-n-gun work, the CS-3e is my go to. I seldom use the CS-M1 as I prefer the Schoeps 641 in the environments where I might otherwise consider the M1. For instance, when I tried the CS-M1 on a sharp female voice (on an interior set), I found it sounded much too strident, whereas the Schoeps 641 was ideal. As I said, the biggest difference in the above video is the CS-M1's rising high end -- whereas the CS-3e is flatter. What isn't obvious in the video is the pattern differences. The CS-3e has a sharp cutoff, whereas the CS-M1 has a smoother pattern -- designed to be much more like a Schoeps MK41 capsule. For exteriors, due to its sharp cutoff polar pattern, the CS-3e shines when needing to tune out off axis sounds and is even awesome when micing from below -- therefore it's great for those sun-n-gun days where fighting shadows is an issue. Bottom line: As always, the key is choosing the right tool for the job.

A more interesting question is, "How did it happen that going to a sound group was your first thought in finding a camera?"

A thing of beauty! Love the nice big RCA knobs.

In a zep the dead space in front of the mic should be about the same as to the sides with the mic centered in the basket.

This is well constructed and can be modified to work for what you're talking about. The strap can be used as either a belt or over-the-shoulder. It has tons of room for a full mini-kit and won't cost much to find out if it's what you want: https://www.amazon.com/gp/product/B00XHPIU2K/ref=ppx_yo_dt_b_asin_title_o05_s00?ie=UTF8&psc=1 Of course, the best solution is what some have suggested -- work for productions that know what they're doing and do it properly. IME those are the ones that both pay better and treat you better. However, to quote the old cowboy movie cliche, "A man's gotta do what a man's gotta do."

Re: Zeiss Fog Defender System I'm not a big Walmart fan, but really, Amazon...? Amazon $ 23.37 Walmart $ 6.98

Ground loops occur when there is a difference of potential between multiple points of grounding. While AC hum is one possible result of such a condition, spurrious demodulation of various RF signals can also be a result of these differentials. After all, RF is part voodoo waiting to making its presence known in unseemly ways.

You might try an inexpensive car ignition noise suppressor such as this one. When installed across the DC feed on my cart it completely got rid of the induced whine from an IFB100 transmitter. However, if hum is the major issue when you're powered from the same source, yours may be more of a ground loop problem.

The best Lectro knowledge source just posted about the best Lectro knowledge source.

Every day's been April first for quite a while now.

Echoing what Peter said. You might look at flexibility as a criteria as these likely broke due to flexing (or maybe being stretched too tightly, so address that on your repair), other than that, find something that fits, it's not critical.

The MK41 capsule has a supercardioid pattern which is a tad wider than a hypercardioid (and has a bit less rear lobe). The MK41 pattern appears to be somewhat wider due to its uniformity, as that of most other directional microphones tends to become narrower at the higher frequencies.

Yes, that is a known thing with Arri. Arri makes cameras that capture really good video, but their engineers decided to get "creative" with timecode and sync, and they designed the cameras to use the timecode as the sync signal (something timecode was never designed by SMPTE to do). So, a timecode device may meet SMPTE specs, but not be great as a sync signal. Arri used Ambient timecode to develop and spec their cameras without undertaking to test them with other brands of timecode devices (source: Two Arri design engineers I spoke with at NAB a couple or so years back). As problems began to be widely reported with various timecode devices, Arri came out with firmware that addressed the issue. However, it still appears to be sporadic depending upon firmware version. I dealt with one Mini that took about five minutes to take a jam from a Denecke box -- the AC told me it was normal for that particular camera. The Mini LF I worked with last week preferred a JB1. I had an Amira that ran fine with an RX200 in the morning but became cantankerous after lunch. I've used RX200s without any issues on Sony, Canon, even Red, but with an Arri it can be a crap shoot, so I have other options ready such as a Denecke box with a fresh cable. If that doesn't work they can clap a slate or use camera audio to sync with. Time permitting, I always try to get timecode working, though. I should add, I've done many gigs with Arri camera with no issues whatsoever, but the above incidents are to let Favio know that he is not alone, these issues have been widely reported. It seems that just when I think I've seen the last of Arri timecode issues they may crop up unexpectedly. I've heard from ACs that they've noticed it's very firmware dependent.

Sad day -- he will be greatly missed.

It sounds like it may be the sensor going bad or perhaps a wire going to the sensor -- however, a call to Charlie at Denecke will put you in touch with one of the most helpful people in our business and get you the best answer available.

Slainté!

Which firmware are you experiencing this with? It's something that should always be included when diagnosing issues.

Thanks for that, Jim! She just became my favorite foley artist.

One place to start getting chops is on low budget independent films. They seldom have the budget to pay an experienced mixer, so in that case you're not taking work from your allies by undercutting them. Other sound mixers can be your best resource as they get to know you and will often help with advice and by referring gigs. Understand that what you'll learn on indies is about sound -- starting to train your ears. What you won't learn so much is proper set protocol as many of these productions are the blind leading the blind. However, by understanding the above, indie films can be a good place to begin developing your chops. You'll also start to gain some references.