Patrick Tresch

On 4/6/2024 at 3:15 PM, Bouke said:

As well as room tone, and please include a few words on paper / sound report / whatever on where to find what.
(I've cut quite some docs, and no, I will NOT watch 60 hours of footage when I'm not getting paid for it, and the directors who view / log the material NEVER log ambience / room tone. While you're on set collecting room tone, how about telling EVERYONE to shut up for at least a whopping 4 seconds. (Trust me, I have done projects that took me an hour to find half a second of room tone to do decent dialogue cutting)

You have plenty of time between “clap and action” ! Lol

As a dop I’ve worked on with a CCM8-CCM41 on a M2D2 for doc but the editor don’t even tell post there is an MS on the camera. 
 

They just skip (kill)  by principle the (pov) camera sound. 
 

7 hours ago, Display Name said:

So was DaVinci Resolve once in a time as well.

You think it would be possible to make Cantars for the masses and copy paste them like software? 

On 3/19/2024 at 1:15 AM, Jim Rillie said:

I think M. Beauviala also worked with M. Kudelski on the Nagra Preamps, so there is a connection. I'm sure this had some effect on the Cantar Preamps as well which have proven (IMHO) to be the best in the business for handling dynamics, and sounding great.

Do you have the link to this info? I don't believe Beauviala was ever in contact with Kudelski to develop the preamps. This industry is small, Beauviala and  Jacques Sax where good friends, probably that Beauviala also knew Mr. Kudelski. But I believe Beauviala, in contrary of Jacques Sax,  never worked for or with Kudelski.

On 2/22/2024 at 8:28 PM, axel said:

so then try an Aaton Cantar X1 or X2. They came out in 2003/2007. Their developer/designer JP Beauviala acquired his skills at Kudelski, where the famous Nagra machines were produced. He tried to translate the Nagra philosophy into the multitrack world, listenend to the community for a long time and then developed a machine with beautiful mechanics, built like a tank, but with the highest audio standards available. Can be operated over the shoulder, in the rain, blindfolded and with gloves. But best preamps. Just guessing, maybe you would love one of those.

Regarding modern film workflows they are not accurate anymore and service has been discontinued when the original Aaton company shut its doors in 2013. But there are still some people who know how to service and repair them and have some stocks of relevant parts.

You ment Jacques Sax (owner of Sonosax) was at Kudelski. Not Beauviala.

Francois Musy once told that he rediscovered the sound of his SuperCmit using the Sonosax’s SX-R4+ aes input. Could the preamp also change the sound of it? 

So the most logic step considering : metadata between camera and sound with a world domination in the field of cinema production,  would be for Arri to buy Aaton ...

But usually Arri develops the idea from others to make "their" stuff. They don't like to buy companies. The king is dead long live the king.

Pat

13 hours ago, The Documentary Sound Guy said:

Yeah, Wisycom seems like a good candidate.  Nagra and Sonosax are way too small ... I can't see them affording it.

Cantar is a niche product. Expensive to make due to R&D and software development. You better be small not to make bankruptcy or you would have to kill the product and make something for the masses on a lower budget.

Hello, 

Just heard that Aaton (Cantar) is in bankruptcy.

Looks like they don’t make any service of the machine. 

Best preamp ever done on a portable recorder is in the Sonosax SX-R4+.

If you need more tracks with preamp you can use the SX-AD8+ module and stay digital with AES connection.

It's also often used for classical music recording. No transformer, you get a clean preamps with the highest dynamic range on the market. It's also small and modular. (I'm not a Sonosax seller 😉 )

For some examples :

https://www.facebook.com/groups/422226551455412/user/572779073

Patrick

Their dual AD is also a well known trick dating back from the telecinema times in the 80's. Sonosax had it also implemented before them and Arri is also using it in their Alexas camera... nothing new.

Bright idea to patent the wheel...

Patrick

On 2/2/2024 at 10:04 PM, Dejan Ceko said:

https://patents.justia.com/assignee/zaxcom-inc

Did Zaxcom patent the mixing of tracks ? 🤣

Usually post shout on low levels when there is only noise to dig but when you have good preamps it's not a problem to have low level as it keeps the sound clear even if you push it (reasonably) in post.  IMHO it's less job to put a +10dB in post than to clean clipping.

Sonosax SX-R4+ & RX8+. 16 track recorder

Wisycom MCR54 4 channel reciever

Ready to recieve another MCR54 when 8 HF needed.

True but how long? Some allready use automix and it won’t get better with ai entering the field. 

On 12/26/2023 at 3:17 PM, Sound said:

Thanks for your help Bouke! I am always shooting 50p in Europe as I have to deliver 50i for broadcast in the end. 25p is not allowed. So video is set to 50p and all timecode boxes including TC out on the Zoom F6 is set to 25. This works perfectly fine with audio LTC, but its a Sony issue with the adapter, which should convert audio to a "real" timecode..

? You can shoot 25p and do a 50i extraction. Wich is called Psf 

57 minutes ago, Placeslost said:

You still need to mix. Is your mix just every mic all the time?

Just for the director to hear the line? 
32bit means do it in post. Phase, mix, equal, …. Titanic 1 was recorded on a Nagra mono. With a Sonosax Mixer. You had to nail it. 

Will the boom operator be more important (and knowledgeable than the recordist (no more mixing needed when using iso 32bit)… ? 

But DIT recieve a Teradek signal. There are no cameras that are hardwired to the DIT IMHO. I think the DIT could receive a real 4k (and expensive) HF link to check the look on a mastering monitor and then send a downsampled HD feed to the crew.

On 11/8/2023 at 11:10 PM, Patrick Farrell said:

Not true. On every union show I work, the sound cart is hardwired to video assist to receive SDI and send audio. Very rare for sound to have wireless video in NYC. The latency tends to be too much on Qtake to mix accurately.

But your video assist recieve a wireless signal or is it hard wired to the camera? 
 

My shoots are Teradek’s 500 or 6 

Not all systems can send and recieve 4k for now. And they are so expensive that they usually are not used. Or only for video village and after down converted to 2k or HD for the rest. Or some accept 4k signals but send it downconverted. 
 

buy a >1500 nit monitor 

Very interesting article Fred, thanks for pointing that out.

Patrick

https://www.soundonsound.com/sound-advice/q-how-do-shotgun-mics-work

Isn’t in front under the breast the most protected area? I think there are a lot of back contacts during the fight for the ball wich could harm the player. 
 

Bad preamp with a lot of gain on it, don't get you more DR. It's just loosing the DR of that preamp. It won't get you more DR out of your preamp (noise to clipping range). Ideally you should have the best preamp in the world without gain to keep the whole 24bit DR (135db?) more you push you gain less headroom (DR) you get before you clip. But who mixes at -60db ?... So you put some gain to get a workable sound level.

Is my thinking right?

Today I would look at Deity. The Theos has just been announced.

https://deitymic.com/products/theos-digital-wireless/

And absolutely test them.

Nice addition to our arsenal. Big features for that budget.

Patrick

If I could, I would wait 12 months. But today I went with Wysicom.

Lectro is also my big favorite, and I love their company philosophy. But the MCR54 sold me to Wysicom. I'm using a Sonosax SX-RX8.

Sonosax Minir