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Christian Spaeth

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About Christian Spaeth

  • Birthday 07/31/1979

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  • Website URL
    http://www.sonidista.de

Profile Information

  • Location
    Mallorca/Stuttgart
  • Interests
    Besides work, I write, play and record music.
    Nature. Music. Food.
  • About
    Production sound for fiction, docs and commercials. I used to do tv episodical work for a few years but now I mainly do commercial/corporate stuff as it's more family friendly. Here and there I do some audio post, too.
  • Interested in Sound for Picture
    Yes

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  1. Just ran into this same issue and found your solution. Thanks!
  2. I am using this every day at the moment, not having this issue at all. Yours must have not been working properly. Soundwise this combo is on par with my Lectros or Wisys.
  3. Kalimera from Greece! Shooting during lockdown makes some things really easier for us: Almost no cars, people or planes that corrupt our recordings.
  4. Not what you asked but my recommendation for great low budget wireless especially if you're in Germany is to get a used Sennheiser SK50 and EK3041 with a MKE-2 or better MKE-1 second hand. Much better sound, build quality and range than all the ones you mentioned, go for quite cheap used and are almost indestructible, and compatible with many other Tx/Rx.
  5. Same experience with me, using ERX1TCD or 1st gen Tentacles. Problems on day 1, all fine from day two with no different settings. I usually try all the ARRI tc voodoo tricks I know: Regen/Jam, check project rate, plug/unplug, different output voltage on ERX... in the end it always worked but I am puzzled as to how I got it to work eventually.
  6. I had this happen in a MM1. You can fix it. Put some contact spray onto a long cotton swab and get to work in the battery tube. Once the contacts are clean it will work again. Good luck!
  7. Hey. If you're can boom well you should be able to get well paid work quickly in Berlin. At the moment Netflix and others are ramping up EU productions and from what I hear in the process wages have gone up in Berlin, which is a place with lots of competition of course. But good boom ops are scarce and even if you write to some mixers you might get a job in high season like that. If you're looking for mixing jobs it will be much trickier in any of the places you mention. For that you need a good network of contacts with other mixers and producers who will book you.
  8. Wow, glad it worked out for you! A scenario like this with the fiddly lightning connector and adapters as crucial interface would give me major headaches! But one thing is still unclear to me - did you call Björn in the end??
  9. If it's a real fire there are different kinds of wood that crackle much less than others. I don't remember now which ones are best but a "fire operator" guy on set once told me. I think he said apple wood doesn't crackle. I'm sure it can be researched easily.
  10. Absolutely agree to all of the above. I for one, guilty of having visited this site less and less over the past years, will come back here more now and hope many others will, too. Thanks Jeff!
  11. If portability is important I think you should have a look at the Ambient Emesser and make a double MS rig with it. It's very light and sounds good (on a standard M/S combo anyways - both with Schoeps and Sennheiser hyper/shotguns in my case). You probably know the limitations of double MS (same as Ambisonics) - nice stereo imaging but not very exact localization. Personally, I could live with that considering that it's very portable and works well outdoors. Only reason I would go MKH30 over the Ambient would be if you are going to record very quiet ambiences where signal to noise is of high importance, and if the additional weight of the 30 isn't an issue. I wouldn't go Ambisonics over this combo (since both are coincidental arrays and the Sennheiser capsules are surely of higher quality than the Rode's). To get beyond that quality-wise I think non-coincidental setups are a must. The only more or less portable one I would consider is double ORTF like Schoeps offers, but that is quite expensive for the kind of work you mention. I have been playing with the idea of building an affordable double ORTF setup for the occasional surround recording with two Superlux ORTF sets stuck back to back but that might be hard to fit into a regular windshield.
  12. Any production anywhere would be wise to cancel any shoot in the next two months because if they don't they are quite likely to be shut down anyway by the governments who will have to ramp up whatever measures they can think of in order to limit social interaction. Basically it comes down to lockdowns all over. Until the vaccination is here (some voices are now saying that could be as soon as this fall) things won't fully go back to normal. Travel restrictions might stay in place for many more months.
  13. I haven't heard the Kortwich thing but I will say everything they make is rock solid and great quality. Berlin manufacturing. I don't think you'll be disappointed.
  14. I strongly advise against trying to make an exposed lav „almost invisible“ by colour choice. I‘d rather see a lav in shot that can easily be identified as a microphone than seeing something weird that somebody unsuccessfully tried to mask. Either proper hide it or proper expose it. Nobody ever minded people talking into handheld microphones on TV either. A bit OT, but I also hate to see the „skin coloured“ (both pink or black) headworn mics on TV talk shows, even worse when the foamies are on. Not invisible at all! Much prefer a thin silver headworn like the MKE1, much less obtrusive.
  15. The 416 would be an upgrade, yes, but you'd still have the off axis issue. You can get an expensive mic like a Schoeps CMIT, but pairing that with a Zoom H5 is pure blasphemy, so your own suggestion (Mixpre 3) would make sense. A nice M/S mic could be good idea too, like the MKH 418.
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