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The Immoral Mr Teas

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About The Immoral Mr Teas

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    Hero Member

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  • Location
    UK, Europe, Asia and occasionally the States
  • Interested in Sound for Picture
  • About
    Film Sound

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  1. Pat, I would venture that advice doesn't help (I might also go R4+ with an AD8+ over a Cantar X3 but it's not on the cards)! Dan, is the same "DOP" on this project? And more to the point are you on it because of the work you did previously with the director (or whichever lead creative) or is it something new? If it's the same DOP maybe he's an allie and will help; if it comes through previous work then they are allies (and it could be both). If neither is the case and the project is new then good luck (in the best sense!) - take your experience and previous success to the field. Talk to the main (and other major) people on the job over what is going to be expected to (hoped to be) achieved and decide beforehand to work around the limitations. I expect both the Zoom F8n and F4n might do the recording ok along with the Sound Devices MixPre 10t as well as the MP6, ASSUMING 4 tracks ambisonics only are needed not your "5 tracks with phantom power" and sorry, can't offer advice on an ambisonic mic here. But no-one can really offer non-specific advice properly when everything is about the project and script. I will say - if you have friends and supporters from recent or previous jobs they are not only your best collaborators / advice now but your future. Best, Jez
  2. Re-reading the comments, I would first suggest that 8040s would probably do it with better wind protection - and whilst we use blimps because they need to be a certain size to work on a pole more air is a better option if you can DIY. But omnis are a lot easier (and the best option) and will neither have proximity effect (which makes wind tricky) nor will have the same higher LF threshold if you actually needed that extra octave or so. For "medium wind" with an omni I would even suggest trying 'less' wind protection ... as much space (ie dead air as Philip suggests) as possible but just something transparent like nylon over a grid, especially as you may need no more than one mono mic if you plan to add the LF to a separate pair. Indeed, in very low wind situations, with omnis I like the opportunity to go without any wind protection whatsoever if I can. Not quite sure how low 4060s are set to go (although omni they may be tailored to roll off since they are designed as lavaliers) but I reckon 20Hz is maybe about right. Try just one if combining with a stereo pair. Personally I love wide spaced omnis for a 'big sound' for stereo when I have an excuse for it ... and fireworks (type sounds) I would say are a decent excuse!
  3. Not an especially high SPL so a good condenser should be the best option. MKH 8020 (and indeed 20) already mentioned - if in your price range either an excellent option. If for any reason neither were suitable (and you had a lot more money to throw) then instrumentation mics will go down to ultrasonics, but you will be dealing with non-standard (at least for music/film industry) equipment which could be tricky to get your head around. Most omni mics we use (at least the expensive ones) I believe are deliberately low-pass-filtered to avoid unnecessary ultrasonics spoiling things. In any case, an omni. Jez
  4. Nick, from a younger git (but no less a git!) to an older respected git, welcome back to hopefully regular JW posting! Shame there wasn't a Nagra in the shot for Joseph, but a nice look at a 1980 field (for the rest of us "field recordists") anyway! Good to have you back sir! Jez
  5. I agree 100% Richard ... (!) that is, actually, 98% ... best to keep 2% secret ... although, damn it! Phil has just gone and given that 2% away again !?! J
  6. Having both mics ready and prepared in their own suspensions / windscreens would I presume be somewhat an advantage for time (considering we're talking here about top level microphones and accessories) ... Even if you feel your work is comfortable enough with a single windscreen ( + perhaps a single boom etc ) I would think it generally preferable to have the two main mics set up in their own suspensions and not be messing about with swapping mics when a setup is suddenly changed. But it depends on your work. Jez
  7. Avid Link informing me that, "Our Login service is not available right now. Please try to login again later" does not not fill me with hope.
  8. Yes to everyone = take care The OP comes up with a situation which is despite taking care shit happens and maybe it is the fault of avid or maybe the blame lies elsewhere but the shit has happened and the shit really stinks. We are in a new 'must be online' world now and it doesn't help us. At the moment it doesn't bother me at all, but I do think it doesn't marry well with our own (professional) problems, especially with a decade or so of bad histories to add to it. In post we are not working generally with one program but with several - all with their potential 'update crap' ... every single plug in for a start. I would be surprised if the PSMs here would advocate leaving their entire rig open to a "hey shit happens" attitude on set. Not trying to be the Luddite here, but this is not only a serious hiccup but an issue? J
  9. Lucy, I'm not sure how to do it myself but I would try to change the subject title to something along the lines of ARRI mini and SXT Timecode input if you don't get any replies meanwhile give that a try and welcome to JWS best, Jez
  10. Hmm, yes, for a couple of decades it was often considered safer to have a separate 'browsing' 'pute and keep the work 'pute "clean" at least for general use over a job. This kind of thing (in the age of auto updates) brings it all back home with a thunderous crash ...
  11. That just means he/she promises to recognise our child. I wish most contracts were so thorough in our business.
  12. It's good to see that sound guys 'that should be fired' are not limited to the Republican events - it is this sort of equality more than anything that makes the States united and America great I feel. Keep up the shoddy work folks! J x
  13. What Constantin is pointing out here is that there is no connection whatsoever with hypers / pressure gradient mics and humidity: I can only assume one is mixed up with 'proximity effect' for which there is a link. Phil, did you not write a telegram to the same effect in 1968 about the 805? (Hey, sorry - I couldn't stop myself! It's late on a Friday night here ...) Best, Jez
  14. Use this opportunity to rent and try out your favourite options. Take the ME66 but don't use it unless you feel others are not giving you better and easier results - and trust me you will not reach for it. I would suggest that the difference in a good boom mic would hit you far harder than the difference in a lav mic (thru a G3) tho I advance that the latter is not my area of experience. I don't mean to try several mics but just hire and try one different boom (like the CS3E) and perhaps even one different lav (either the COS11 or the DPA 4060/1 since you have experience of the B6) and swallow the cost since this cost will add directly to your experience and help immeasurably to your eventual choosing of equipment. Best, Jez
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