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Mungo

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About Mungo

  • Rank
    Hero Member

Profile Information

  • Location
    Germany
  • About
    ENG, EFP, Sound mixing post
  • Interested in Sound for Picture
    Yes

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  1. Of course, just a joke. I was just remembering many years ago when I came with files from the 744T and an editor said: "What is that? I can handle WAV, but I don't know this BWF" haha
  2. They supplied German broadcast companys with 1/4 inch studio tape recorders from the 40's until the 90's. Absolute standard, it was hard to find anything else. Maybe some Studers. Not about Nagra, but general info: https://www.telefunken-elektroakustik.com/history
  3. A colleague of mine had a 633 fader that had a "life on its own". You could investigate this by looking into the channel's pfl view. The fader dB value was changing all the time. The mixer had to be sent in.
  4. Cinela Osix 2 Just perfect. No handling noise, lightweight and rugged. The angled XLR is great too, helps a lot when the ceiling's low.
  5. Great mike. Even just using the M capsule for mono dialogue sounds wonderful. But not enough shielded against RF, especially that digital RF and mobile phones that are all around us today. Had too much issues with RF so I don't use it any more. I was always in fear that something could bleed in unintentionally.
  6. Those Sonys don't do well with receivers in the same bag. I experienced similar issues with Sennheiser receivers. Workaround: Choose a Sony frequency as far away from the Lectros as possible. The Sonys have three "bands" consisting of three tv channels. Transmitter and receiver at least mustn't be in the same band.
  7. I once really needed the w/c on the 664 when I had to send 8 AES channels to some video deck from Blackmagic. The video guys gave me a 48k bnc signal out of their mysterical 19" video rack switcher unit. Without w/c audio-to-video just didn't work so I was very very happy about having this option.
  8. Mungo

    Deity HD-TX

    Anyway a small and versatile recorder for plant mics. Lav TRS and XLR with phantom. Listen in wirelessly. Way better than placing some bulky Tascam or Zoom and hoping for the best.
  9. I don't know G4, but I know G1 to G3 and 2000 (which is the professional series). They all had tremendous problems reproducing low frequencies and sibilants when there was an input signal not coming from a lav optimised for the system. Also there is no limiter. A boom has very high demands on the wireless in case of dynamic range and all kinds of sounds.
  10. This forum is so fantastic! Background info from legendary productions, real and authentic! Thank you for sharing your experiences!
  11. That guy has no clue about audio gear! He just wants to find some fool who'll pay his repair. Maybe someone used a 5 watt China Walkie Talkie in close proximity to the camera.
  12. AF out to +8dBu (maximum) and transmitter's input level about -21dB (depends on type of microphone used).
  13. Now from me a +1 for Nano Lockits: bullet proof, easy to sync, light weight, small. Every camera operator is happy about it. If you power supply them by USB over the camera, you never have to switch off neither touch them during a whole production, because they keep on running on their own battery over night. All you have to do the next morning is a wireless sync from your master Nano Lockit. The best thing is that you can expand your system with Genlock Lockits and slates from Ambient which will be fully compatible.
  14. Hi! Got a professional education in a company, and graduated after three years. After that years of eng shoots and simple post jobs (news mixing). Gained a lot of knowledge, and people noticed it over the time. So the jobs became more and more demanding.
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