RJBerto

The simplest workflow I can think of, and I can't vouch for the sound except that there will be some, is to grab 3 of those auto gaining sennheiser wireless kits. Plug them into a recorder that has mix assist and run a mono mix feed to your fs5. Put a nice mic on top of the camera in a good suspension and run that into your second channel. Or if you're cool with mounting something under the camera, substitute a zoom f8 for the recorder with mix assist. Keep all of the lavs exposed. Figure out which types and chemistries of batteries you can use to minimize the amount of battery changes on the day. Use plural eyes for sync. Again, this probably won't provide the best results, but should be useable and fairly clean. And I haven't used those auto gaining wireless so I can't comment on any caveats, ymmv...

Has anyone tried it as a computer interface yet?

Save a setup file to the internal memory after you set it up how you want it. It's in the manual.

What cables are you using? Try gaining up the receiver to +12 and plugging head phones into it. Hear anything coming out of one side?

Used FR2

I pulled the trigger on the stingray. Have a half day tomorrow and a full day Saturday to test it out. So far I love it. Was worried it wouldn't work with a bag i have that only has two attachment points, but removing the lower section from the butterfly and attaching the upper and mid biners to the d rings on the bag works fine. Tonight I'm attempting to add two more d rings under the bag to take advantage of the full harness, attaching the top and mid to the top rings and the lower to the new rings at the bottom. Will be upgrading to a stingray bag in the new year....

Tried the ktek at Trew today and am impressed. Tried the stingray jr bag with it because it won't work with my current bag and it definitely feels like the way to go. What a difference over having the weight on your shoulders.

I had a backpack stolen with my harness in it and need to replace. Anyone else using the OR-40? My rig is pretty light and that ktek looks like overkill for now.

It's rare for a sound mixer to need 8 mic inputs/pres and the times when you do, I'd imagine a linear mixer on a cart is the way to go... which I suppose is the thinking for line level on TRS, taking the direct outs from a mackie type mixer, but still... the -10 thing... And not being able to plug in a wireless receiver at line level without having to make a special cable and padding the output seems odd. Could be useful for remote music recordings though...

I don't know about the 664 specifically, but most mixers I've had experience with, the 10 pin, or however many pin, connector will inject the signal into the return signal path... same as a direct connection to the return in jack. The manual may contain this info, or a quick call to sound devices to confirm.

I went and played with it as LSC today. Would be a good add to a 552/422 setup, but for me, too small and clunky to use by itself. The pres were actually pretty quiet and the body had a nice solid feel. It'd be a marked improvement to switch the trim and fader control and put on some better knobs.

I'll likely pick one up if the 8in/4out usb interface works well. I've been looking to upgrade from a 2in/2out interface for a while and having something that could serve double duty as back up in the field is pretty attractive.

What does the rest of the 5K budget have to go to? What do they have already? Are they looking to add more wireless? May need to relate the microphone to lenses... doesn't matter how good the camera is, cheap noisy glass looks bad. "Microphones are the "lenses" your sound is captured through" and all that. The "You want to spend how much on a camera? We already have a GoPro" argument would never work if the situation was reversed...

FWIW, if you reverse the phase of the NTG3 it will work. Has something to do with how it gets phantom power, you basically need to switch which pin it gets phantom power on. From what I understand the mic is not reverse phase, so if you do use a phase reversing barrel, the phase should be switched again at the mixer... or receiver.

Is it a lively sounding room? I've been in some small gyms that were very "dead." I have no practical experience to contribute here, but I've done a few un-mic'd theatrical performances and just placed spaced omni's across the front of the stage and an xy somewhere in the audience and thought it sounded very good. Depending on the height of the ceiling, I think an omni flown over the center of each quadrant of the ring would sound nice, mic the coaches and ref and place an xy that matches camera perspective for stereo ambience?

I have a pair of the older version Studio Projects C4s. I use them a lot, they're fairly low noise, and nice balanced sound.

I'd go for a 211/200c combo for your first primarily for the scanning function. Then you can ad a 210 or 2 in the same block and use the 211 for the scans...

I suppose you're right.

Sorry to resurrect an old thread. Are the np-1 cups compatible between the remote audio BDS and the PSC version? They both say on the front of the unit "1&2 -, 3&4 +"

I bet Blackmagic can shed some light on it. Contact them and ask?

Find the spot on the BM where clipping happens and then back off enough to give yourself the headroom you want. If you're going to be working with the camera a lot, get your hands on it for a test. There should be an hour at the beginning of the day after you're all set up and before camera is ready to roll to do a couple of tests. Use your ears, and only check the meters as dummy check to confirm what you hear.

They also had a problem with mid 2010 models, but were so quiet about it, I never new mine was affected until I tried to upgrade OSX. They discontinued the repair program end of last year.... In my research, I can see complaints going back to the 2007 MBP...

Hmmm... anyone try the new windscreen with a OST TL40?

If you find yourself as a OMB trying to boom and mix a scene as you've described, there are going to be compromises. Get the boom in a position you can manage with one hand, even if it means swinging it a little less than you'd like, and use the faders with the other hand. you should be able to bump at least two faders down with one hand, i'd set the gain a little lower and the faders a little higher.

I prefer to wire at the follow cart, but for more complex costumes I'm fine wiring at wardrobe. They can usually help me get the mic right where I want it and they appreciate that I'm looking out making sure I don't F up their work. I also try to see what the wardrobe will be as early as possible, and already have a 1st choice mount ready to go. If production has skimped on wireless rental, I still try to wire everyone up and just move the transmitter around as needed. This makes thing very quick. Although one time on a job I was doing as a favor for another mixer, one of the talent went to the director and said "ya know, I didn't have a pack on for that last scene, do we need to reshoot it?" and of course 1st time Director starts freaking out... It was two people talking while heads touching in a nice sounding room and the frame was tight. Boom was the right choice and had to explain why the $1200 mic in open air sounded better than the $250 mic mounted to the actor.... I didn't mention the fact that gear was gratis...