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pindrop

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  1. Schoeps Super CMIT is very good at removing reverb, to the extent that it can be too good on setting 2. An example, filming in a ten meter cubic stone room in a castle, with stone floors, stone walls, and stone ceiling, with a massive stone table it was a reverb chamber, the Super CMIT on setting 2 was way too good at removing the reverb and it didn't sound like it looked. The Super CMIT was also way better than a close mic'd DPA lav, in the same circumstances. The advantage the Super CMIT has, is that it works in 3D space and does clever things with phase, arrival times, and direction with two capsules whereas post solutions effectively work in the equivalent of 2D space as the mono recording has effectively stripped out all the spatial information, like when you're wearing headphones you can't tell what direction an intrusive noise is coming from, because the headphones remove the information the brain uses to very accurately detemine direction, that's what a post solution is working with, a 2D representation of the sound, whereas the Super CMIT is actually present in the space and makes use of 3D information.
  2. I think you are pretty close, see my post above for 1.14 x 98Wh for nine hours with one MRX414 powered up, but also powering a G3 TX, AES42 (Schoeps Super CMIT powered which gets warm), and two P48 inputs powered. This is outdoors about 2-4 degrees Centigrade.
  3. I've just been on a three day job with a Zaxcom Nova, one MRX414 powered up (of two), Zaxnet on, 2 x P48, plus AES42 powered, Sennheiser G3 TX for camera hop, On continuously for nine hours, I was using 1.14x AudioRoot Neo 96Wh. One battery with 41% remaining and the other with 54% remaining at the end of the day.
  4. Its the graphic display that has not got enough room for the newly added record tracks 13-16, as well as L & R for outputs so L R for outputs got sacrificed for the added tracks. Yes its a bit of a nuisance as I'd commonly listen to boom left, and the mix of radios right, but there's no post fader option for tracks unless you've got them set that way for recording, which mostly as iso's you don't want them post fader. Not sure why the display can't be modified?
  5. Rigidity comes at the cost of more weight, as I discovered with the new K-Tek Classics, wonderfully rigid, but very heavy. I use VDB's the lightest, and just take the bending in to account, it's not difficult to do. I prefer a lighter pole, even if that means it bends a bit.
  6. The UMP III is great. Any chance Ambient could make an AES42 version of the UMPIII? A Zaxcom TRX743 will make a Schoeps Super CMIT wireless, but it would be very nice to have other options with other TX's.
  7. Yes quite and people do use bigger and less section poles in drama, the Panamic being a favourite. But for what I do, mainly docs sometimes in remote places, I like the range that six section gives you between collapsed and extended length. I use the previous generation VDB's before they went to quarter turn locks (I believe you can still get the previous locks to special order?), because the very fine thread on the collars enabled one to set a friction such that the sections can be pulled out / collapsed without touching a collar, but nevertheless maintain sufficient friction to stop a large rifle mic, in an exterior basket with furry, from twisting on the axis of the pole, a fairly fine setting, but very useful in fast moving circumstances. I can collapse / extend a VDB whilst navigating multiple doorways between large rooms for example. On top of which VDB's are a masterpiece of the play off between sufficient strength, whilst being as light as possible, yes they do bend at full extension, but I don't care because I just compensate for the bend easily. You've guessed it, I'm a VDB fan, no one else comes close yet....:) PS I just tried the new K-Tek classics 6 section, which are admirably rigid, but weigh more than half as much again, as a VDB, and the collars are not particularly fine setting friendly.....YMMV.
  8. Since I got the Zaxcom Nova with plus 10dB digital gain, I was able to stop using the mini DA42, but when I get the chance I'll compare digital vs analog input with the Nova.
  9. Are you saying the Mini DA42 increases the noise floor of the already quite high noise floor of the S CMIT itself compared with the S CMIT connected directly to a AES42 digital recorder input? I've used the Mini DA42 extensively and have not noticed an increased noise floor over and above the quite high noise floor of the S CMIT itself? Can you get Schoeps to take a look at your Mini DA42, or is the PSD 2U that you have, I haven't used that?
  10. I was never told why, but it was a covid reason, as only recordists who were in the specific bubble of those specific contributors were allowed to boom them from overhead, quite bizarre, but we are all in new territory, and there's some making it up as we go along involved I guess....?....:)
  11. Yes I agree Constantin, but was just working on a production (exteriors) for days, where I was simply banned (no argument) from booming overhead, I had to boom from underneath! Such is the state of things in some quarters......! Viruses or hairs dropping off furry wind protection? Don't ask me?
  12. Well 24 bit still has 144 dB of dynamic range are you going to need more than that? Presumably Logic won't convert a 32 bit file in such a way that it's delivered with 24 bit clipping, if the dynamic range is less than 144db, will it? The advantage of 32 bit is generally for lazy gain staging, and not for a dynamic range greater than 144db isn't it? Unless of course you're recording rocket launches or heavy artillery, in which case dunnno, never done it...:)
  13. Careful you don't get escorted away... Though the charge sheet might be amusing... 'Causing a breach of the peace by what your honour?'
  14. Haha thanks amusing, farting fish is popular on Google, I discovered, and there's even a Ted talk about them...:)
  15. For BBC4 film about an Inuit hunter in Greenland 'The Last Igloo' delivered in Dolby Atmos, I decided given the logistics, that I would record the bulk of it in single MS (CCM4 and CCM8) Cinela (Zephyx CCM-MS) and took an ambisonics mic (Rode NTSF1) to rig when the scene would clearly benefit from it, there was time to rig it and not be in shot, or to get separate ambisonic atmos. And of course radio mics (Zaxcom, using the internal recording all the time, though the range was fantastic as there was no contention and I was using animal tracking yagis), for personal mics and for plant mics for spot FX, sledges, dogs (DPA 4098 / 9) etc. I also had an Aquarian H2a Hydrophone, for under the ice FX etc. That was plenty of equipment to have to transport and have available on skidoos, and dog sleds etc., and to be fast enough in cold remote places, and not to over complicate matters....:) Anyway The Farm post production in London were very happy with what I delivered, and were very creative with how they used it, and created surround effects as and when the film would benefit from it in post. I'm a big fan of MS recording, it brings the sound to life and the stereo width can be manipulated to great effect in post, but remaining small and light. If you get good post production with the time to do it, the surround can be crafted after the event, to match the cut of the film, though they appreciated the ambisonics too, when the scene clearly had natural surround potential. So with the composers beautiful music, (Biggi Hilmars), which I loved, it all worked out rather well, even though I say it myself....:) I saw a preview in a showcase Dolby Atmos cinema in central London. Good luck with your film, it sounds interesting, chat to your sound post production before you go maybe? These links may not work from outside the UK, not sure, sorry. https://www.bbc.co.uk/programmes/m000cr9s https://www.bbc.co.uk/mediacentre/mediapacks/the-last-igloo https://www.swanfilms.tv/productions/the-last-igloo/
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