syncsound

Is this for rain protection, or for large bodies of water?

Still early days, but I imagine that once this tech improves, it might serve as a replacement for some ADR. I would have to assume that SAG would include language to limit its use, but for indies and for general walla, those might someday serve as a kind of "stock footage", or even a plugin: https://www.aflorithmic.ai/post/creating-einsteins-voice

I mix to mono (with pre-fader iso's) until directed otherwise. My philosophy is to give them what they ask for, so long as it isn't unduly burdensome.

I've used 75 ohm short BNCs for timecode for years with no issues.

As the topic says, curious about real world experiences. Thanks.

THE PATTERN IS FULL, BRO.

I had the opportunity to work with him on an indie years ago called The Kill Hole. I remember him as polite, professional, and intense:

If I may ask, how did you calculate the rate for that?

Do you get vehicle rental for this?

Yes. My next step will be to add a mast to raise the antennas when I can. I use fleximounts currently because I do a lot of low budget Indies that have challenging locations. Mobility and flexibility are key. The SRCs have been great. Be sure to take the time to SmartTune your channels with every new location.

The Six Pack offers an RF loop out for adding more receivers to the RF distro. I'm currently running two Six Packs for (12) channels:

That's my MO as well. Worked great for years.

https://futurism.com/the-byte/nasa-mars-lander-hit-itself-shovel

How's it working for you?

Anyone doing this yet?

I recently shot with the 6K versions, feeding from Denecke JB-1 boxes into the minijack, no issues.

Canvas Pencil Case from Mr Pen. Affordable and available via Amazon.

Yay? Nay? Good, bad, ugly?

Was just curious

What SPL were you mixing to?

I get that. I should have prefaced my comment by stating that I wasn't trying o debate the technical merits. I was merely commenting

http://www.moultonlabs.com/more/about_acoustic_and_microphone_levels_levels_management_i/P1/

I would consider headroom to be part of the total dynamic range (signal to noise + headroom = total dynamic range). And yes, I get that it should ideally exceed the capabilities of our mics, but what I'm talking about is practical application beyond that. We can already deliver very good final mixes from 24 bit audio sources. That's what my crack about horsepower was about: yes, your sportscar has > 500 hp, but how often will you use that in a legal fashion driving around town? Most people will never need that.

TBH, a lot of nit-picking about dynamic range beyond what we can already achieve feels like the horsepower arms race that car manufacturers get into when trying to sell cars to people who are likely to drive them on roads with speed limits. If you're doing live music or SFX gathering (or something else with little to no control or chance to anticipate), I see an incredible advantage to anything beyond 24 bit.

bit depth demonatrated: