BAB414

What kinds of receivers or mixers/interfaces are people using to get high track counts of audio into the mac? How is WildTrax for sound playback? I use Reaper.

I hope that with these new resources, Lectro can be more competitive with their product line versus Wisy, SD and Shure.

You guys are right. I completely wrote off the last two dip switch combos simply because I didn't know what they were and in the heat of being on set, didn't care to look it up. Doing what Derek and OB1 suggested worked. No need for a $120 cable after all. Thank you so much.

Hello! I have a really high noise floor on the R1a's with this combo. I've tried going into the T4 at mic and line level, adjusting slate mic and program gain, different cables etc. I used to send the feed out to a UM400(a?) using this expensive cable and it worked fine. Not so much with the T4. I'm told the COM output is unbalanced stereo. Will this cable solve my issues some how instead of using a regular ta3 to xlr like I have been trying? Anyone have experience with this combo of gear? Thanks, Ben

There used to be a guy here famous for saying "It depends".

Sheet metal screws. Had to look it up

I always drop the bag when the picture car is untethered. Automix is good enough for dailies and monitoring. RF from car to car keeps me up at night. I know people do it but it's not for me.

+1

I just came into a couple invisity flex receivers in the 195-202 band. What transmitters are available that can operate in this band that will provide the best range and performance? I'm aware of the T4 at 50mw. There's also an older phonak transmitter I know little about, and then there's the older lectro "M" series. Any others I should be aware of? Or any to avoid? I'm curious what will give me the best overall performance and what antennas people recommend that aren't too huge/impractical.

I like to use the M-216 with a mini mite for car rigs for extended range.

There are a few in Marriage Story. The one that sticks out is the room full of actors right before rehearsal for their play. Wally Shawn is talking about some sexual escapades, one of many conversations happening at the same time. This kind of chaos is sort of the point of the scene if I remember right. Another sequence is toward the end where the whole cast is out at a restauarant after a show. For that one I remember we had something like 17 (or more?) lavs and two mixers.

I've done a few scenes with Noah Baumbach like this. He is very meticulous and intentionally wants the scene to feel "real" this way so we wire every single person who speaks and he combs through later in post to highlight the lines he wants to stand out using the lav isos.

The Roger's are very disappointing in their range but they work if you are super careful with the repeaters and/or remoting the base station. I would love a new analog solution. I know Phonak had to stop production of the classic.because they don't make the chips anymore but can they make a new model.off of new chips?

I made some mods to mine so these are not exact but my SC-4 is 36" long (including a little lip I put over the front casters, and the handle that juts out of the back) 24" wide, and about 48" tall. That's all I got.

You should absolutely expect better but I will say your case sounds like an anomaly. I have x4 98Wh hi-q's (Remote Audio labeled) that have never given me issue. 3/4 of them are over 60 cycles.

Here's a boom mic on some low budget indie movie doing motion capture. He is also lav'd.

Lose the wingman. Causes more problems than its worth.

Can you daisy chain 2 of them for 16 channels of control from the boards?

So clean! How are you liking the DSR4? What are you using for rf distro?

I love this. I love analog whenever I can.

How long until we're out of jobs? 😅

How well does it work for dramatic/emotional scenes? Any uncanny valley?

On bigger shows in NY, I find that generally production gets their first 2 lockits along with their camera rental from the camera rental house. If I'm hired early enough, I try to sell them on using mine for an additional charge. For the smaller/corporate stuff, I'm hearing around $500/day is the norm just for mixer/recorder, boom and 2 lavs. No TC or IFB. And the base rate seems to be steadily rising. I'm really happy about the transparency we're seeing with kit rentals these days. Just a few years ago, people seemed to be publicly keeping their info close to the chest which wasn't actually helping anybody.

I'm still wondering what's wrong with using my digital hybrid wireless transmitters? They sound fantastic. I mix movies and TV shows and it's rare that I run into issues that would necessitate the ridiculously wide dynamic range that 32 bit supposedly has. In those rare cases, I throw up an extra mic. Maybe this tech is best for pro-sumers or documentaries where you only get one take.

I once worked with Mila Kunis.