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    ENG, EFP, Sound mixing post
  • Interested in Sound for Picture

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  1. Indeed. RTN lvl is about +20dB in my workflow. +1 for Johnny Karlsson: I don't need channels 7 and 8 most of the time so I have routed RTN to 7/8. So I can see the levels in the LR+8ch horizontal view at least (in grey cause they are not armed of course). So I can adjust the camera output by setting the levels equal to the mix.
  2. I've been using it for many years mainly as a camera hop, due to it's unique compatibility to Sony camera models. Most of my work is for TV, and so I do my mix in my bag and record it, but in the end the sound recorded on camera is taken because very often it's "very urgent". So I need a hop solution which is reliable and sounds perfect. But sometimes I get in touch with the handheld, the lav and the plug on. I can say that I'm very happy with it. It never collapses, it always works. Range is astonishingly good. Sound is perfect, but the "N" generation and 3rd generation have a slightly better audio reproduction. It does a bit much RF spray to older microphones when operated at full RF power. But newer mikes which are made for digital RF don't make trouble any more. You also have to be aware of leaving enough space between receiver and hop transmitter (space in distance and space between frequencies) in the bag to avoid negative effects on range. I'm also missing a little more gain on the bodypacks for weak lavs. The Cross Remote function is also very nice, and in the field it's a nicer concept than having to struggle around with apps, imho. The handheld transmitter is a bit outdated, and so is the plug on (new ones will be available soon) but nevertheless it's the best sounding plug on I know. My recommendation. The best ones are the DWR-S03 and the DWT-B03R. I also like the older DWT-B01N: It's equipped with a true balanced input which can't be found on the newer bodypacks any more (speaking of European models).
  3. Recording scene in a small car. No space in the car for me, just the two talents, director and a camera person. So I wired both talents properly and put my sound bag in the trunk, starting ISO record with enough headroom, as you know the only possibility we have in that case. But how could I monitor? I installed a transmitter outside the car, stucked at a closed rear door window. Two passive sharkfins were connected to the receiver. I could hear everything without any dropouts as they were driving around a huge parking space, several hundred meters long, quite astonishing as I wasn't sure if that would work. The car park wasn't very crowded, but after all there was a truck between me and the car. As the car returned I could immediately say that the recording went fine soundwise without having to play back the recording. Transmitter: Sony DWT/B01N Receiver: Sony DWR-S03D Sharkfins: Sennheiser A2003 frequency: around 500 MHz, free and tested in that area
  4. Speaking of my area, the combo of beltpacks+receivers from Wisycom and a Sennheiser plug on is also common. SKP 3000 (unfortunately not in Sennheiser's portfolio any more) sounds absolutely decent on a Wisycom receiver. Maybe you could get one used. SKP 3000 is more pro than SKP 2000 or SKP 500 G4 because it uses the HiDyn Plus compander system. Many years ago there was the SKP 30 which nobody would recommend as it works with 9v block batteries, lasting very very short.
  5. which I found disconcerting. And I'm sure other microphone manufacturers felt the same. Especially those who have a cooperation with Rycote by selling their mikes w/ Rycote suspension a kit (like Rode).
  6. I guess. I just tried out: FS7 (MK1) syncs to all Timecodes regardless if it records 25p or 50p. It doesn't accept Genlock at 50p, only 25p/50i. But when it is set to Slow&Quick Motion (which can be 50fps too), no incoming timecode is recognized. Maybe that's the case. You can easily see if it's enabled since audio is not recorded also. There is a red prohibit sign visible on the audio level meters in the viewfinder.
  7. All cameras I tried so far (all from Sony: FS7, FX9, several ENG models) would accept 25fps TC even when recording 50fps without complaining. I experimented with the various options of the Ambient Lockit ACL204. The manual says: "As with firmware 6.xx Lockits now support double project rates to be synchronized via ACN and automatically select double frame sync settings with genlock/PPF activated. However, as not part of the SMPTE specification, this will have no effect on timecode frame rate and also cannot be transferred via cable."
  8. PZM will only work in silent environments with perfect acoustics and people MUSTN'T touch the table. So not really an option. If you live in the German part of Switzerland, you probably remember that show: They had problems with rumble noise as far as I remember. But on the other hand it sounded very good, I guess they had excellent preamps.
  9. I did something similar some time ago and had only three lavs plus an MK41. It was a horrifying job and post was happy but not *very* happy. It was quite difficult to cover a 2-person-discussion between people far apart from each other. PZM on the table sounded great, but wasn't a good option cause the table was touched a lot by the participants. These days I would rent as many wireless lavaliers as there are talents, a Scorpio or 688 (maybe cheaper), a CL12, record ISOs and let Dugan help me delivering a proper mixdown for director and scratch track. You don't need to rent expensive film gear, there are several rack-mounted multichannel wireless systems available for the stage. If the lavs can be visible (as I understand because you consider goosenecks), Shure systems maybe a reliable and affordable option. Or Sennheiser, Sony ...
  10. Iron, I see that you're based on the other side of the world, so maybe the following tip isn't an option for you, but anyway it will probably help others here: Kortwich Filmtontechnik in Berlin helped us several times with Sony connectors. They built me great right angled versions ($$$) and even a solid adaptor to Lemo-3-Pin. They haven't it on their website, you have to phone or mail them.
  11. Mungo

    Noise Assist

    Have the four instances in the 833. It can't do wonders and needs to be operated carefully, there's a learning curve how and in which intensity to use it. But since I do mostly news and documentary stuff, I wouldn't do without it any more. Never got the chance to test the Cedar plugin which is double the price. + works good when there's a constant noise (generator, dimmer) + slightly increases range of boom mike exterior (traffic noise) + can slighlty help you with clothes rustling noise when lavs concealed + especially recommend for the mix of multiple lavaliers + makes you a hero occasionally in ENG style shoots ("Can we do the interview or is it too loud in here?" "Well, we'll hear the noise, but yes it will be clearly understandable.") - sounds weird and blocky if intensity too high - no help to isolate a single person speaking when other people speaking or shouting around - doesn't work satisfyingly good with abrupt noises like dog barking, items of metal falling on ground - doesn't help much in echoey rooms - steals low freq and makes the voice sounding more flat - depends on circumstances, so there is no value that "always works", you have to experiment again every time - speaking of 833, it's in the ISO if you activate it. If you want to record both processed and unprocessed you are confronted with complicated bus routing - not suitable for fictional stuff when there is a proper post production. Izotope and other software do it much better. - plugin is for one machine only, for one serial number. You can't transfer it to another recorder, and if you recorder is dead, stolen or in repair, you can't use it.
  12. Audio output is, as on all Sony receivers, mic level. I don't know if the headphone jack provides L/R separate outputs of both RX. If so, you could make an Y-cable and use the high level HP signal for your channels 4 to 6.
  13. My experience is that you can't use an NT6 (which is about the same mike as NT5) close to an LTE router. Unusable. I guess we have to deal with that cause NT5/6 are quite old design from the early 2000s when mobile devices weren't such an issue as now. Even old 416s can't deal with today's RF environment.
  14. Mungo

    Leicozic SR2050

    Quite naughty from that company to not only copy the design but even the name (!) of the Sennheiser SR2050. I use the Sennheiser "original" frequently and can say it's a rugged and reliable workhorse. Range highly depends on the antenna connected, I use a passive sharkfin. You can either go stereo or mix two sources in the beltpacks via focus menu. If Leicozic offers similar quality it should be ok.
  15. Mungo

    Lav tape

    All double-sided stock tapes I tried so far were too noisy and/or too bulky. So I carry on using Stickies and Undercovers. Well, admittedtly it's our responsibility to keep that special market alive. For other fixings I have a bunch of different medical tapes like 3M Transpore, Leukosilk, plasters etc. They all have (or haven't) certain advantages like sticking well on skin, going off completeley from fabrics etc. Some sound and hold well but are white, so not always invisible. If a tape is noisy all the time I can still use it well for fixing cables further away from the lav or IEM cable fixing on presenter. Trial and error.
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