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Lewis OB

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Everything posted by Lewis OB

  1. Just to add my own input... I'm another user not using, or planning to use, a CL6. In my opinion, the current petrol bag would work well for anyone using a CL6 and stuffing it with 8-12 wireless (although I wouldn't like to have this as a bag setup myself). Right now, I find the Petrol bag pretty awkward as it seems to exaggerate what is already a pretty big mixer by adding to its size, and especially it's width. What I (and I suspect many others also) would be keen to see is a bag more suited to a 664 and 6 wireless that's a lot more comfortable to wear and includes the well thought out layout of the Stingray bag.
  2. I'm using an Ambient VPAK with IDX Endura 7s batteries: http://www.ambient.de/en/products/ambient-recording/power-supply/vpak-ii.html http://www.idxtek.com/products/e-7s I'm powering a 664, 2 x Lectro SRbs and a G3 transmitter for links and comms via a DC2. I get about 7-8 hours powering everything.
  3. This article might help you understand the difference: http://www.soundonsound.com/sos/nov09/articles/qa1109_4.htm My opinion, almost certainly no audible difference in scenario 1 in the studio. Scenario 2 recording on location with unpredictable situations could pose problems with electromagnetic interference from things such as power cable runs for lights, for example. Or why not buy both? Then you have a spare when one inevitably goes down on you. Also, I'd suggest purchasing from a reputable dealer rather than Amazon.
  4. I'm not sure I've ever been asked what microphones I have, except out of curiosity from other tech geeks on set. Surely, if they were at all concerned with any of your gear they should politely enquire and you politely explain and reassure. If they were still concerned, then a second opinion from calling another mixer maybe, who would of course echoed what everyone else has said on here and explained that the 416 is not only a great mic and very suitable mic, but also has the advantage of 40 years of rigorous field testing behind its frequently copied design. But going off what the secretary Googled?? I bet they found a colourful opinion on GearSlutz about how the new Behinger mic is a "game changer".
  5. Lewis OB

    HD26 Pro

    If been using them for about a week now. So far, very positive and definitely an improvement over the 25s (in my opinion, headphones are subjective!). I don't mind he cable on the left (in fact, I think this works better for me), they are more comfortable, more isolated and I'm pretty sure less noisy (using with a 664). The adjustable headband is in improvement over the last one (no more pulling off a can when I get caught on something) but I'd love a ah to "lock" it off as they are quite loose.
  6. Tends to be the radio stations here that put their little billboards on top on a reporter mic.... I assume so they get a bit more TV precious advertising. And being Rode and all...
  7. I've used 24, 25 and 26. All work fine in my experience, though 26 is usually the one to go for.
  8. So now, in the mind of a producer, my 744T has an inadequate track count compared to a Zoom. Fantastic.
  9. I've used a G3 GB/B band for a scratch track on Epics without any issues... Until this week. So much RF that the RX was reading full with no switched TX on. The only difference I could tell was this time they were using a V-mount battery plate (not sure of the brand/model, but it was one with a row of BNC connectors at the top, which I guess made it easier to get to the TC input..). So possibly something to do with that, similar to how the RF on a 744 seems to come from around the battery. This was bought to my attention after they listened to the rushes and I assumed it would be an issue with the Epic and did my test to confirm that it was a camera issue. It also explained why their wireless split feed wasn't working either. At least they have no choice but to sync sound now!
  10. Ok great, there is no need to gather further opinions then.
  11. Put a lid on that conversation starter quickly! Seriously though, this stinks of Zoom + Oktava/used 416 + enthusiastic and interested friend/student to help out. Get a basic film audio book (e.g. Ric Viers Location Sound), try to schedule a test day before shooting to work out the problems and figure it all out, slate everything properly and accept the extra workflow in post. Buying into expensive equipment that you don't know how to use is probably going to give you worse results, more headaches and empty pockets, especially if you blow it all on a single microphone that you might never use again - or never use at all if your intention is to plug it straight into your DSLR.
  12. As a boom op I'm usually using whatever the mixer provides for me. However, I do have a Sennheiser G3 with a $30 battery powered headphone amp from eBay velcro'd to it that does a fine job when there is nothing else available.
  13. I frequently use that one on set, but I substitute the genny for a Red Epic. Usually followed by a request to turn the fan down...
  14. It's all about 5K on the Epic.. 4K is for losers! But mp3s are fine as it will only be shown online.
  15. I overhead a great one last week - "I don't understand why we need a sound recordist, just use one of those Zoom recorders. We will never be showing this in a theatre anyway". This was, of course, shot on RED Epic.
  16. Just been watching some of the instructional videos on YouTube, am I right in understanding that you cannot use both AES digital inputs AND the Zaxnet IFB capabilities at the same time? One video on Zaxnet suggests this. Like a lot of people here I'm using the tried and tested 744/302 setup and looking for an alternative, and the Nomads features when it comes to wireless integration look by very interesting.
  17. Long time reader, first time poster here. Hello! Totally agree with these statements. I find sound is often the "forgotten department" in drama shoots (I'm usually on docos), but all my repeat work has been based upon attitude, punctuality and professionalism on set.
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