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Michael Wynne

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Everything posted by Michael Wynne

  1. mine in it's current state, three other bags ( MXC-552, MXC-302, AR7 ) and a back up SD302 mixer make it modular.
  2. I think anyone has worked in audio post extensively knows that pt is the undisputed industry standard for many reasons. And yes it's a pain in the a## at times but usually only when trying to upgrade prematurely / install untested 3rd party plugins, etc. Ive been using it since version 5 and the last rock solid version IMO was version was 7.4 which many studios still run. Bouncing and or exporting consolidated regions for me is a simple matter of what's the task at hand. I don't ever want to be in such a hurry that I can't wait on a bounce. To me it's valuable to listen one last time before delivering.
  3. def Pro Tools, you have the option to drag in on the TC in spot mode, supports all frame rates, and you can even work on a different TC all still while maintaining original time stamp
  4. I just placed my order for the 552 today and am very excited :-) I've been doing more direct to camera tv type stuff and have been using my sd302 / 702t combo. The reason I'm buying it is to replace my 302 and not have to bring my 702t if I don't want too. I really like the 302/702t and plan on keeping both, but the big limitation for me was the difficulty sending to multiple cameras from the 302. The 552 will accomplish this and much more and will be a great addition to my set up and when the time comes for more iso channels I'm sure I'll revisit the Nomad. But if I had to choose right now I'd go with the 788-ssd / cl8 combo.
  5. This is awesome, what a great story I was only 10 when this film came out. That blue lagoon and pirate scene was pure magic on the big screen as a youngster. M
  6. I also own the 302 ( with 702t combo ) and like the challenge of having to be creative with I/O in any given situation using 2 lectro tx/Rx and boom. My next move is I plan on using the tape out to send too a Comtek tx. Comtek makes an inexpensive custom cable to make that possible but it's not on the official product list but all you have to do is call them and tell them what your trying to do. I guess at some point you have to throw your hands up and say I simply need more I/o, but technically you could run and additional 2 line level signals through 4/5, assuming your willing to give up your camera rtn. Love how this thing sounds.
  7. So I'm relatively new to bag / ENG recording and am looking for some workflow advice from some of you more experienced pro's. Currently I'm recording industrial applications / corp videos and typically I'll have either one lav, one boom or two lavs and one boom. I'm using a 302 that's feeding a 702t, and typically sending a boom ( ch1 ) and lav/s too ( ch2 ) in addition to feeding a back up to camera. My question is what are the best techniques to keep the lav/s single recorded channel as isolated as possible when I'm using two lavs in a close up side by side interview style format. The last time I had this situation I had my hands tied with the boom so live mixing was a bit of a juggle not to mention it was unscripted. I am aware of phase switching and also the obvious thing of getting more isolated channels like a 744t, 788t, etc which is not an option a this point.
  8. Someone tell me these are shipping soon ! I'm trying to hold out and about to do a 552/744t combo instead..
  9. That's good to know that final cut / avid are 24 bit compatible for exporting omf's. Providing the source audio is also 24 bit and not simply adding 8 extra bits to pre existing recorded 48k 16 bit audio recorded to camera.
  10. I do alot of audio post for ad agencies and production companies. Alot of the time I don't know who did location audio. My job usually is at the end when the video is already approved by te client and there often wanting a finished product same day. Usually I'll get an omf with the embedded audio from the video editor. After listening to the content I'll determine what I actually have ( boom, lav, both, etc ) and determine if what I have is suitable for a good mix. An OMF should contain the uncompressed audio with tc, but is usually always 16bit. If it's VO or if I have access to the original recorded audio I will usually replace everything just to be sure I'm getting the vest possible audio for the job. I would love to see better communication in audio throughout the whole production. I think the answer is being proactive and help educating the producers who manage the workflow.
  11. Hi Everyone ! Thanks everyone for the incredible feedback ! I learned a lot while reading all of your posts. I figured I would send an update on what I decided to do. I ended up purchasing one of the Lectro UCR411, SMQV, with a Sanken COS11 too match. I've used Lectro in the past when renting and always have been happy with it and I feel it will be best for my particular use which for now seems to be mostly industrial bag work. And thanks to my buddy Whit in Atlanta on the COS11 recommendation. I feel very confident in Lectrosonics service and they were very helpful on the phone helping me determine which block to purchase in my area, and am totally in love with my sound device gear. My second wireless set will be the same models in a different block and I'll mostly likely get the SMV as my second transmitter so I have a smaller option. I learn so much from you guys here on this forum and I love reading about all this stuff ! Best ! Michael
  12. I have been working mainly in Audio Post the last seven years and have some limited experience doing bag work I've most rented when I got the occasional gig. As business has increased I have begun investing into a bag set up this last year and so far I got the 702t, 302, Sen 416, porta brace, rycote windshield, ambient pole, etc and even a cool akg bp4029 stereo mic which is nice for a sound designer like me. So my next and last major purchase ( for now ) to complete this bag set up will be two wireless systems. I've got my sites fixed on the standard lectro SMQV and the UCR411a, quantity of two. So what I'm wondering is are most of you guys using Lectro's. Anybody using Sony, Zaxcom, or even Shure or Senheiser for field work. At 3k a pop for each set I thought this post would be wise to help me see what the pro's like you are doing and what you might recommend for a set up like this. Thanks for your input Michael
  13. Hi Everyone, This is my first post on the forum, and am happy to be here ! I have a bp4029 on the way to me tomorrow. Hope to do some ambient nature recording with it this weekend with a SD702t. Decided to go with it because of price point and fits inside my pre-existing number 4 rycote kit. Will report back my thoughts and post some raw recording samples on sound cloud. Michael
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