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The Immoral Mr Teas

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Everything posted by The Immoral Mr Teas

  1. 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
  2. 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
  3. 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
  4. I need a story like that every monday morning from now on I feel! Cheers! J
  5. 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.
  6. 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
  7. 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
  8. Ha! Sounds like a normal (eventually paid) job out east to me (30 years on and off)! J
  9. 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
  10. 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!
  11. 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
  12. 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
  13. 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
  14. 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
  15. 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.
  16. 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
  17. 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
  18. 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 ...
  19. That just means he/she promises to recognise our child. I wish most contracts were so thorough in our business.
  20. 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
  21. 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
  22. 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
  23. I would definitely consign the ME66 to the spares box and upgrade that side of it, and if you can find a decent second hand 416 that would be an ideal mic that would always have a place in the armoury. If you ended up buying new though I would have a good look at the various contenders (focusing especially eg on the reach, tightness, forgivingness of the type of work you'll mostly be doing on a boom outdoors) and I would add a decent rycote to that. A good hyper would complement this and also serve you long (Schoeps with all the trimmings and a Cinela if you want, but an MKH50 with a 'baseball' would be my first and cheaper choice - you could start using it in the shotgun rycote when used outside even then upgrade basket and mount if you felt it necessary with how it was getting use). That said, there are today several good mics that fall between hyper and short shotgun that might suit working which straddles these two - they might be worth looking at and could reduce a spend more. Though I would still look out for second hand 416s in case you locate a decent bargain. Not my place to offer advice on lavs for wireless systems or other accessories but clearly others here are helping there so best of luck. Jez
  24. ... and probably never by post production, except in a friendly interested manner. After you've used the tools at your disposal to get the best sound you can possibly get - then post production is going to use their best tools to edit and balance the sound as best they can. I have to suggest here (and hey, Senator called me up on the same issue decades ago) that matching lavs to hypers or shotguns is a dead end street (or cul-de-sac)! Far more important is using mics to the best of their characteristics to achieve the end result: clear sound. After this there is still (usually) a great deal of work to be done down the line - if not, you have had a very lucky shoot. - Apart from this, good advice from all here I think. I'd also go for a (less expensive, still expensive) MKH50 especially OMB'ing, with its handy low cut (and pad) inbuilt. I'd also try different gear out, try to work with others in bigger teams, and keep some of that money aside for gear you come to realise will be a REAL investment (could be a bag, a harness, a particular length of boom or even some cabling). Like Tom, I intend to get some 6060s when I can, to supplement / replace 4060s and possibly B6s, but especially in a OMB lo-no drama situation they could be a very expensive loss: fair enough if you feel sure you can take good care of them in videography situations but you'll be tempted to use them I expect in 'interesting' jobs where you're trying to do much more with less control and there's no insurance comeback for 'expendables'. Jez
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