Sandor Gyurkovics

Hey, does this mount actually have room for the foam? looks super tight. thought about this one but wasn't sure i could make it go. i'm leaning more and more towards cinela after using my INV6 for the last year. still pretty rough for handling noise. older carbon k-tek pole.

Hey, have you actually used the hixman adapters by the way? I was looking at a few of them....lectro to 3.5 for track E as you stated, plus microdot to TA5 for dpa goosenecks and lectro TX. 1/3 the price of the dpa adapters, so wondering about actual field use an track record.

Sounds like i should move to the US. i don’t know any producers that would pay 500 for a 2 wire kit in vancouver, no matter how hard i try. But we push as hard as we can

Client dependent….350 down to about 150 for the mentioned kit in vancouver. Bottom end being a favour or a no budget thing you just really want to do. Average closer to 250-300 id say. I like to put all the gear as a line item on the invoice when possible, amd then show discounts if any. Teaching moment for producers. I would include one sync box and charge beyond that. If 2 or 3 were rolled into the cost i would aim for the high end of rates…or higher if i can get it, as that also means more hops amd comteks.

same question....3 years later. they are still out there but thinking they aren't for sale new.

I second the microframe as an economical timecode slate. doesn't clap, but displays timecode in all lighting conditions and has space for labels/IDs. it's the bomb for gopro work. give one to all ACs. good in a pinch if you end up with DSLR's too. if you want a clap, velcro one to a dumb slate....$300 vs $1200. maybe not pretty, but ofr bag mixers that get asked for a slate on the day and didn't have time to rent, and only need one for 4 days a year, works well enough.

ha! same with me. have 2 of each. liking the sankens way more. really like them for wide/tight/slider 3 cam interviews. there's enough reach to get it done for the wide and not rely on the wire or a longer shotgun that would be less forgiving with subject movement in the chair. The 50 doesn't cut it in that situation. it's a lovely sounding mic in lots of situations. I use it indoor and out. not loving my mount though. I still put it in my old senny blimp that I use for the 50. It's fine, but not ideal. Like the look of the Medium cosi perhaps. I have the INV mount with the black lyres (the light ones) and a bubblebee for interiors. super light. love it.

I think loads of us have probably used 4 receivers in a bag with acceptable performance. bags change shape with job needs. I've used 3 with whips many times, 4 less often, but often enough. Unless you need max performance on everything you'll be fine (i.e. if you're near the scene/subjects and they aren't 150m away). I also us an RF distro, but keep my whips in the bag if everything gets overloaded...usually if everyone is in close proximity. I wouldn't worry too much about it. You said it was short term, right? go for it.

I just bought two of these mics finally. I’m using the rycote INV mount with black lyres in cold weather with a bubblebee windkiller indoors and outdoors. will have to put a grey/hard lyre on the front in the summer i suspect. the black ones get mushy in the sun. haven’t bought a blimp yet, but may try and use my mkh50 blimp. i bought these for a show that needs good/small camera mics, and plan and ditching my 50’s after the show and moving to these. only boomed on day with them just to test them out, but they were pretty nice to swing. light! handling noise with a ktek classic pole and the tiny inv-6 mount was not an issue at all.

that’s some good backlash (with no offence… of course ) about someone doing what they’ve got to do to get the job done. As someone who mixes with a bag strapped to my body every day while booming at the same time, I totally get why someone would do this. I’ve done it many times to make mixer adjustments that needed to be done, and I don’t exactly have the wrists of steel required to one arm boom for more than three seconds. it’s totally risky move, but practice makes perfect! Reality TV can be very unforgiving.

nice! sounds like a very useful tool. i can see a lot of value in that.

love it. looks like a great tiny mixer, and having 7/8 on faders is fantastic. the new firmware to access 7/8 on the recorder's programmable toggles was a big help, but this is better.

same. +5. max.

thanks for the hide a mic tip. hadn't seen that product yet. Like the idea of what he's trying to streamline, and everything is worth a go since every single outfit/situation is different. Saving 30 seconds of prep on a lav is always a bonus. I certainly like the tie option, and it would keep the snot tape of the mic capsule. As mentioned, I'm sure a little square of mole skin or snot tape would secure the holder to the capsule just fine.

the only obvious thing I can think of is going on the clothes instead, but that's not always going to fly depending on what they are wearing. I'm sure you've considered that option already. I find the bra strap is typically too low in the front to sound good. Tough one. Other than that I sometimes get a hand from makeup or wardrobe (if there are any of those folks on set), as they are often women. You can train them up and the talent might be happier with a woman doing the job.