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The Immoral Mr Teas

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Everything posted by The Immoral Mr Teas

  1. Hi adryork (perhaps an unfortunate name for a predominately production sound recordist forum!?!), You (as all of us) are going to learn (and continue to learn) by doing. So choose between a hypercardiod and a short shotgun for the camera and start filming. If you want to get experimental beyond your experience rig an MSM (chosen C mic plus a fig 8 and a backwards cardioid) to the camera. But I suggest you don't, and just choose a mono mic and concentrate on two things - the filmmaking (storytelling etc) and keeping an eye open for technical improvement. Best of luck, and as Cocteau said (in some character's words), "astonish us" Cheers, Jez Adamson
  2. Thanks Marco. Hmm, name rings a bell but no actual memory there of seeing it. Cheers, I'll have a look. Jez
  3. Well if I was a producer I'd want Crew and Phil on set if only for their articulate rapport! Even Sidney Lumet would approve, well said! (Read his excellent chapter on rerecording, with its great chapter title, in his book to understand). Jez
  4. I only came across RRS very recently, a review of one of their VERY expensive high end tripods: so I imagine whatever they do is done with very high attention to detail and quality (even if features look cheap at first glance). The fact they have the boom attached, with shotgun mic, to one of their tripods with seemingly no counterbalance in the video attests to the strength and balance of tripod and boom and quality of attachment mechanism ... Curious how they went about reducing internal cable noise: cloth covered cable or cloth sheath over cable inside the pole? Regardless, unless it's reduced to the point of silence I think I'd wish for a method to remove the internal cable - I'm very much of the other camp, like Buffalo Girls - round the outside. Expect it will not be in any way cheap, and that for many to choose it over other favourites might well be that 'tripod-boom' setup possibility. Certainly worth keeping an eye out, and indeed contacting them for info and with suggestions for those here really interested in picking up (and helping develop) a new high end boom design for their needs ... Jez
  5. Please give us a picture to rival Tom's ! Jez
  6. Is that a recent (BBC4) doc? I missed it if so. Or something older? Any idea or link where I might watch it? Jez
  7. Re Shug and others, just to clarify, I was talking about my experiences of using 4060s and 4061s direct into preamps, not into transmitters (re spls). Shug's request for info of wireless system will be key to a decision I'm sure. Jez But you'll find 4061s very different beasts than 4060s for fx work, particularly atmos and low level sounds.
  8. Hi Coolwing, firstly +1 to James Louis for responding first with points: don't mind me please if I repeat them. Secondly, sadly (for me at least who always took his advice and comments seriously) "it depends" no longer posts although many use the phrase in deference. Personally I think this 'sub 1000' (or even sub 2000) area has been much slower arriving and we should all be grateful for the small handful of recent decent machines that have come about. To put things in some perspective it seemed to many professionals in film post production and the music industry that (for instance) Protools was less interested in a commercial sense with selling high end units to us than software to millions of bedrooms. For me, at the moment (barring the 'old' but still current DR680 and R44), none of the machines provide the simple sync/cascade that aes3 (or spdif) allow, although perhaps the hdmi and software will change this for the MP. I still long/look for a 4+ channel small portable unit to travel with. Although I have no immediate need for one with no travel plans in place. As things stand my choice has become (for completely different reasons for each) the Tascam DR70 (cheapest), MixPre6 (nice in many ways) and the Zoom F8 (advantage for me being the 8 preamps). As that shows my three 'choices' are completely different machines with different capabilities in different price ranges. I actually think the MP6 is a competitor for the F4 and the 701D, not the F8 (nor 70D). I can't really comment in choice against these three since it's not my market. The edge for me might be the F8 since I would like the option of the 8 preamps, but specifics for a trip might push me elsewhere particularly if I only needed 4 channels. Pluses for the F8 are also (as now) the outputs and the TC generation. Pluses for the MP6 include the analogue input limiters. I applaud Roland and Tascam for entering 'our' market (although DSLR as a former Panavision worker is itself hardly what I used to think of as filmmaking), Zoom for upping their game - and everyone else's in doing so - and SD for daring to undermine their own market by joining in. And for me the Swiss were always the 'industry standard'. Until I used the Cantar. Jez
  9. I'm less in the front line than many here (not prod recording) but as I said I don't remember overloading a 4060 (although I have the option of having one 'down' a few dbs or a 4061 to use). You have to remember these (4061s) are used on stage where transients from professional singers really are high, and the general level is far higher than speech. BUT one might suit better than the other depending on local talent generalisms (same as other lav sensitivity available options). But overloading as said is most likely and first checked at transmitter stage etc. Jez
  10. AB it is, perfect for film ambiences. And I often stick them either side of an object (even a bag) for a mild baffle. Or lower them into places the 8040s will never be lowered ... I don't think either are 'compromise' solutions - if you want to record ambiences or normal level sounds the 4060 is the right choice (and as I've told many people I recommend a pair as an FX option wholeheartedly). If you're looking to generally record louder stuff (too loud for the 20mV 4060) then ok the 4061; racing cars or guns CU probably the 4062. Despite the (relatively) high noise floor of the 4060 it is perfectly OK for much ambient recording. Most importantly they sound great for a mic that tiny. I rarely if ever overload the 4060 even (noisy-ish atmos, ordinary car interiors or even close mounted on say a string instrument) - though I have the option of the 4061 and other mics. I'd agree with Constantin that, if lav use is the primary function, your choice is between shouters or whisperers in your daily routine. (And probably at least one swap in the kit for a new talent arriving in town). Best, Jez
  11. Could it be the "custom made" or just the fact they're "brand new"? Although I like to think our eagle-eyed colleague Dela has worked out what makes these so special!
  12. Instant classic Jim! I tried the helium blimp trick years ago to save my arms but found I had to slow down all the recordings to compensate on pitch.
  13. And yes, finally, an animal handler / specialist will get you much further, especially if you discuss your wishes. It can be astonishing how far a handler will go beyond the ordinary to do something different whilst keeping both safety and animal wellbeing in mind. I would say all my best results came with this kind of help.
  14. I would first look into renting mics in Australia - presumably Sydney but wherever you're flying into. I own a Telinga dish, which I use with non-Telinga mics (Bruel Kjaer omni or MKH8040 cardioid) but I'm not sure it's your first choice over a short shotgun (DPA, Schoeps or Sennheiser) since it's a loud bird with a deep (bass content) voice. Given a decent recording situation you might not even need a shotgun at all - if the ambient sound is not 'unwanted' in the location (traffic etc). Sounds likely you're recording from a diffuse sound field (ie further away than the direct sound field of close up) so a good quality (nice sound, high output, low noise) hyper, cardioid or even omni mic might give just as good a result as a shotgun. For the ambiences I would look into hiring a stereo pair of omnis, such as MKH20/8020s, but several other good options (if looking into hiring). If you did manage to hire I would pick up also, say an MKH50/8050 and an MKH70/8070 in case they worked out better for the recording situation. In the latter case especially, hiring would mean getting a windscreen kit thrown in with the hire price and not needing to spend even more for something you might use sporadically. I'm assuming mono recording of the bird. You might want to consider MS for stereo depending on your final sound requirements. If it was a far-away tweeter in a tree, I would look at a parabola (or a long shotgun). In this case (in hopefully controlled situations like the YouTube video pointed to), I reckon a more ordinary handheld: hope for the best with background noise and watch for specifics like fence noises. From someone who spent several weeks on a private estate with ostriches, a python, a Komodo Dragon (and whose attempts to visit to record the separate island compound of lions, tigers etc were pooh-poohed by the producer) ... ... Good luck! Jez Adamson Oh yes, with wildlife, prerecord is your friend!
  15. Off off topic, I miss film (filming) quality, projection quality ... and tape is perhaps becoming underated? The Nagra, running at it's meagre 15ips max speed, delivered excellent quality well utilised, far better than now realised by many, and studio and instrumentation machines went far further. Perhaps these are now 'textures' now lost; the analogue flow of mic, preamp - or lens - remains ... but I agree on the picture front particularly, it no longer impresses me (acrylic isn't better than oils) and has sound really improved? Back on topic - Jon and company .... we're really looking forward to seeing how the new recorders pan out. Myself (as Chris was) particularly in how the hdmi could be utilised as a word clock to sync with other units (other than a single camera). Jez
  16. Cheesey as SHIT, albeit not moon in the gutter .... If I remember the right director whilst watching the news tonight I seem to recall it was a Nagra E ? Could be wrong. Remember the bath as much. Ha, but as someone (like Dan) who grew up with the French Sans Wave, I do still enjoy all this shit. I am happy to report that I realised I was the youngest (in my 40s) to be in a theatre in Paris last year watching Subway ..... ON FILM. Bliss. It was an audience mini party... Jez
  17. In the same price range there's also the MKH80xx series (8040 etc) which squeeze sideways into a big rycote (or you could simply give them supersofties or the like. And DPA make nice compact cardioids and hypers. Plenty of cheaper options which could be tried, like the Line Audio (wide cardioid I think). (As a post person) if you're not asked specifically for MS (for eg a tv docu workflow) it's often not welcome as it's not always useful (for theatrical). ORTF would be more welcome but it's not necessary to restrict yourself to this single 'recording angle' - I would rather rig up a stereo bar (from a K&M or maybe a hotshoe extension) so you could alter the angle. Two hypers could also be used if preferred ... unless you wanted cardioids rather than hypers as other (dialogue) mics in your kit (boom 2&3, plants etc). ORTF and other compatible recording angles are all explained in Michael Williams' 'The Stereophonic Zoom' available to download from rycote website. Jez They're certainly welcome (given editing time) if they are well recorded, free of unwanted crap (as Constantin describes) and especially if it is an unusual or heavily picture-specific environment. But watch out for the crap ... as Constantin points out - too much and indeed it'll be a waste of time.
  18. Or you could just go out and buy a smaller 10 track recorder with 8 balanced mic preamps and TC generation for less than a thousand? j
  19. More likely they would enjoy their new 'job' and simply not realise what a dreadful mess they were making of it, along with the rest of the crew - everyone not monitoring at least! J
  20. Bring it on! I for one welcome SD looking into this 'budget/DSLR' market. One shouldn't forget that both SD and Zax have partly made their business and reputations by successfully undercutting the pre (vaguely) 2000 film sound equipment of Nagra et al. Not to undermine the continued innovation and excellent support which really made both companies embraced by our industry. But before you criticise Tascam too early please remember (or hear) that this company had already done exactly the same thing decades back to provide a 'relatively affordable' alternative to Ampex, Otari and the rest. I still have huge respect for them. The DA P1 and the TEAC version were great alternatives to the expensive HHB and Fostex pro dats. Before that was analogue. I have a '122' in the loft. At the price point the DR70 is still perhaps the best DSLR 4 track. The DR680 as far as I know has more comprehensive ganging capabilities than virtually anything beyond the highest end professional gear. That and its rival the Roland R4/44/Pro has digital in (AES3 or consumer) which neither the new SD nor zoom machines offer, and for 'extra tracks' for sync needing people like us could be a life saver on a budget equipment situation. But as I said, bring it on. My 3 favourite 'travel' machines have now become the Mix6, F8 and for sheer cost the DR70. Travel not 'work', but that's the budget market. Jez
  21. No problem if it helps a decent mix track. We will still if necessary manually correct sync. But it makes me think of the two reasons that delay has been (very welcomely) introduced into equipment. One is that in controlled circumstances like music recording delay according to distance can be measured and calculated. The other is that equipment where delay is expected and known can be accurately compensated for. In all cases, beyond glorious mono, we have a certain, if often negligible, determination of phase and delay we might have to be aware of, but if it sounds ok ...
  22. Forgive me for jumping straight in without reading all the threads so far but I take it this is a question from production sound to post production sound. As the latter, as a dialogue editor, I (and the rerecording mixers) welcome iso tracks for very many reasons today. I would generally take a 'master' track as a sync base and in most cases this is the boom (boom no1) track as it hopefully (sounds best and) best reflects the direct-ambient sound that the sound team has managed to get to match the (camera) picture. It is often slightly wrong but that's why we do our jobs to correct stuff. As a general rule, dialogue editing, I take the 'master track' (the boom) and pull the isos into sync with that, manually. There's not a shortcut - it either takes a little time ... or it's not important enough to do. Thinking to do it in advance is (probably) pointless extra work to no effect. I am in absolute favour of the higher level recorders being able to offset and apply delay but this is of use (indeed necessary) for live recording applications where for example front or spot microphones have to be delayed (to a mathematically determined amount) to match room or surround rigs in non-perfect situations. As someone said, thinking too much into it. Jez
  23. The shipping looks a little steep! Ha ha ha ha ha ho ho ho hurghh .......
  24. I would look for a suitably wide-hole windscreen for a large barrelled mic (U87? Soundfield MK5 perhaps?) and possibly fit that over the MKH windscreens. Another possibility would be to just pull a small diameter rycote jammer over the two MKH windscreens (not the full size things, the consumer camera mic type)? Jez
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