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The Immoral Mr Teas

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Everything posted by The Immoral Mr Teas

  1. The DP's equipment / rental ... why did they not deal with their equipment their self? Or at least provide the necessary phone+app? J
  2. Where did you find it, Kishor? The specifications that is? It might well be a DPA 4060 excepting it doesn't actually need the 48v but that would be an expensive answer if the specs were for something much cheaper. Jez
  3. Missed your main concern! I presume you already have this Apollo? Do you have a (hopefully nice) recording space (ie studio ... and hence editing space too) then Andrew? In a studio situation there is absolutely nothing to suggest recording to 'studio gear' is any worse than recording into location gear - in many ways it is preferable, mainly in cutting out an unnecessary transfer and dealing only with one system for the entire process (record, edit, mix, output format). Obviously you can't record indies on it and except for occasional possibilities you can't (or would be pushed to) record interviews and the like outside the studio - so, I would probably personally set up to record into the computer (so long as computer noise: fans, drives etc - are taken care of in a separate room or box or some form of soundproofing) when in the studio and use a portable recorder outside. If you have a room though I would seriously advocate monitors, even if fairly budget. Jez
  4. Aghhhhhh! I inadvertently morphed the topic into a cable preferences thread! Well to add a touch of irony I'll have to chime in that my general DIY mic cables are indeed Mogami 2893, which are thin, far less bulky as a result, still 'coil' perfectly after many years of use (my tape-op / music training ...) and remain in great shape. I tend to record FX, field stuff, multichannel and they don't get the rough treatment or hurried use they might in a production environment (heck, I wouldn't even put them away at night without wiping any mud off them) but it gets my seal of approval. I like my canare just as much though. But back to the topic - my sincerest apologies, I'm truly most terribly sorry! Jez
  5. Couple of comments after a quick skim through question and replies: Cables? Who cares? Well Mogami make very good cable so it's a perfectly decent choice (presuming these aren't budget-breakers) I have no experience at all with the Neumann headphones mentioned but if you are editing on 'phones rather than monitors you'll be astonished at the change in comfort by switching to open back (from closed). Of course it helps to have a niceish sounding room with half decent soundproofing against outside noise in which to work, but even if not they might help a lot (and switch back to closed for specific checks and problem solving). Nevertheless I would still look at getting a pair of decent budget monitors to start off with ... Fostex PM1 / 0.5 / 0.4 for instance could be great for the little money, or KRKs or something if you want to spend a little more. (I'm assuming you were thinking using the Neumanns not the Sonys for post mixing ... the latter are ridiculously coloured so I wouldn't go near them for such a task). Also, I'm (these days) a Protools / Nuendo user - tho' having never actually used it myself I would also suggest to have a look at Reaper as a bargain possibility. Anyone here with any experience of Harrison Mixbus btw - any use for picture?? I assume you are also in a position to hire for radio mics / hypers & alternate shotguns etc (ie for those indie shoots)? It's not obvious to me whether you already own certain equipment or are thinking of buying (new or used). Best of luck, Jez
  6. Not sure I would want to put KM184s ... LET ALONE an MKH50, a CMC641 or CMIT5U ... anywhere near a racing car exhaust - not without comprehensive insurance anyway. An omni anyway is better (basically) for lack of proximity effect and low frequency roll off. There are other possibilities to try (look through the archives) but a DPA lav has become the de facto standard for many including myself. Keep those three beautiful hypers for capturing clean dialogue!! Jez
  7. Hi Simon, interesting question for the group. Like you, I am very fond of spaced mics, specifically spaced omnis. I also have friends in the conservation / environment industries and have talked over similar possibilities for sound so I think I have SOME idea where you're coming from. The chances are extremely high that there is no 'end format' in anyone's mind here and moreover that it is somewhat expected that you yourself might come up with the several possibilities of presentation since you are the 'sound expert' - and they would be right, enjoy the chance and discuss it with them! End formats could be (limited bandwidth) podcasts, full bandwidth stereo either on headphones or speakers, simple (quad) speaker arrays or OTT multiple speaker arrays. Or gadgets like VR headsets. So, without freaking your friends out with the differences or the 'possibilities', I would subtly try to ask what main end format is usual or expected, then take that as a starting point. (Maybe you've already done this re original question). What I would be most interested in as a recordist is what scientific or documentary angle they're looking at to involve you in the first place ('cause I've been through this too in hypothetical stages but not yet gone beyond). It could be they are just looking for an exhibition situation to point (known) stuff out to the public or a client. They could however be looking for something which could be measured and analysed and archived. It is the end formats probably which will answer your original question (or help you make your own decision) but the actual aim is the more interesting technical challenge! For a similar situation, not knowing either (end format / aim) up front, my gut reaction would be to go for: a 'perfect' mono omni (... for scientific use in the future if not immediately envisioned) plus an IRT plus an ambisonic. If I was limited to 8 tracks there I would possibly lose the Z of the WXYZ to allow a (coincident but better mic) omni to make up the channel. One last but important thing - you work in music so I assume you are familiar with Mid - Side in recording and mixing? (I must have worked in some degree with MS every single day I worked on music stuff, far far more so than I had to in broadcast or film). It is important to understand since you have no direct ambisonic experience that ambisonics is an MS technique, so your existing knowledge of the various techniques, problems and benefits of MS also will be those of ambisonics ... so it might help you in working out if ambisonics may be the better or worse choice at least to pursue. Good luck and have fun - wish I was doing this one! Jez "I love spaced omnis ... hundreds of them!" Adamson
  8. I am a dialogue editor and started out (like many here) when recorders only had one or two tracks to record to so whilst I can understand Derek's team's fast turnaround reality request what Philip and Constantin point out - that you can get carried away with track counts (and trying to be helpful) - rings true for me. In fact it is the (rerecording) mixer who at the end of the day needs tracks in an order which makes good sense for his/herself and I would try to make sure my edited tracks are either exactly what the mixer expects or sensibly and consistently ordered. Some mixers like to do things differently to others so it is best for me to try to find out what is expected, particularly if working on a new type of production (like moving to a daily reality show from a narrative drama for instance). By all means communicate if possible to the sound post team as they may have specific requirements which could make their life easier and which might not be obvious (or just might be the opposite of what made life easy for the last team). Aside from that, using common sense, being consistent and good labelling / notes are what we editors hope for aside from the obvious. Jez Adamson
  9. My only concerns are when the Ra units are released - will they be compatible? Terrible joke, sorry! I must mention here that I was very interested in the Hapi when that came out. I'd be interested in write ups on any of the Merging units. Inari, are you a Pyramix user too? Jez
  10. Hey some flunkey in the lighting or wardrobe department (in the words of Mick Belker...) JUST MADE A MAJOR MISTAKE !!! Or maybe I'm overreacting and it's just a minor computer error ... Aye, back to normal soon I hope! jez x
  11. Anyone else been really interested in watching a documentary subject then given up because the archive aspect ratio just jumped about without any correction? Fat normal fat normal fat! How the hell can people - our colleagues - working in this profession not give a damn about their craft? If you are working with picture (assistant editor ... editor ... producer ... director ...) how can you not notice the picture is wrong? Is it getting to the point that younger folks actually think that screwing up the archive aspect ratio is a visual 'language' way to tell us "this is old"? On the documentary I was hoping to get through one of the main interview subjects actually ran a major studio for a while - not to mention winning Oscars. Is HE ok with this (a fat faced younger self)?! I'm beginning to think of the 'wide/golden' visual to correspond to a 45/33 rpm sound ratio that we may start to have a little fun with our nearly blind colleagues and audience. Every time we are given a non-converted insert in a mix slow down the sound (or if obvious sync just drop the pitch half an octave). On the less common occasions we are presented with 'heroin chic' footage then speed it up or up the pitch. Let's try this without even saying we're doing it ... "Bear with me here for a second, I'm just matching sound to archive ..." If they have no critical faculty for their own expertise (picture) it will be funny to try to find out if they still have any judgement left in the subconscious for that strange, unfathomable world that is sound. If (as I suspect) they do not we can all be privately happy that we have created a new aesthetic for our apathetic audience. Jez
  12. I need a story like that every monday morning from now on I feel! Cheers! J
  13. No idea - not me (and I'm not a PSM anyway so a doubtful commentor) but they are cheaper/budget (albeit not either ...) versions brought out of what we (high end) might use to bring a new generation in (particularly project music obviously). Not too sure what they would bring above the similar spec lavs and small mics like the 4060 and (super) cardioid versions that came along. For film use that is. I'm quite happy that DPA in the last decade or so have made a very serious effort to offer products to several Film/TV uses - I think they've done it very well indeed, even with discontinued stuff like the windpac which I kind of wish they might have readdressed. It's possible the 20 series have possibilities for us but I think they were probably (well) tailored for their specific music market to bring people to the DPA sound/quality. It took DPA (a while) to take B&K away from purely omni and a long time after to look into shotguns and surround. On the other hand both companies have always been open and quick to embrace 'non-intended' use which is good. But I'd say if a budget film use mic had been intended (or considered financially viable) we'd have got it ... Jez Extra note Allistair - if you are intending on extra preamps (beyond the basic two for a 4017 and 4018 combo) then I would think 'why not' ... At least have a decent listen to units from the folks who are supplying the rest of the kit. You realise you won't get hypers or shotguns but as you said you could have a cardioid plant or second boom to augment the kit.
  14. Hi AB, I also use from time to time two 805s as a shotgun stereo pair but it is always a strange reason to go for it: a reason but an unusual one! Generally using any two super-directional mics as a stereo pair is an unusual situation coming from an unusual recording purpose. Chris' advice is most probably the best here, rent 2 8060s, alongside the alternatives (specifically DPA and Schoeps as I can see - owning and using mics by all three manufacturers) and try out what you want to achieve. Generally having ONE shotgun (MKH70, 8070 or whatever) in addition to a stereo pair anywhere between omni to cardioid I would consider an ordinary arsenal for nature recording - specifically asking about a PAIR of SHORT shotguns requires understanding what is wanted to be recorded in quite substantial detail. Best, Jez
  15. Well he says it's not close (ie high SPL) so in this case I think a condenser would be as good if not better. Though for high SPLs and transients good dynamics certainly have their place (I have an MD441 and would certainly like to pick up one or two RE20s). Jez
  16. Ha! Sounds like a normal (eventually paid) job out east to me (30 years on and off)! J
  17. 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
  18. 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!
  19. 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
  20. 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
  21. 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
  22. 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
  23. 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.
  24. 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
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