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Editor cracks shits as he has to do more work. Haha. I'm actually going to un plug camera mic as well.. Last 2 jobs I've post mixed I've had to chase up tracks as the editor used the camera mic... When it comes to Fuck ups... Camera ops and editors are Kings

I would stick clear of G3, they are great for scratch, however they often end up being uses in post... And the editor doesent bother grabbing the audio files off the card... I do mainly post. Never fun having to mix stuff that's path has included a G3. SrB always sound fantastic

Battery flat? Have you got phantom power on?

I actually like my Ntg - 3, but it sucks in doors. Mkh 50 is probably more within my budget at the moment.. At I can grab another 4071.. Might get the more durable vetsion

Think I'll go Dpa, all the guys around me are Sanken and 8060.. Nice to be down a different path.. My 4071 lavs have a presence boost, great under clothes

Loving my 4071 lavs, currently running a NTG 3 which I do like the sound, however it's giving me a few issues.. Will an 8060 match well? How about a Dpa shotgun... What are other Dpa users using for a boom

Totally.... People complain about shit audio, not shit pictures...and it's a bit hard ADRing a doco

Regarding ADR, overlaps are another reason, for lots of ADR. actors talking over each other ruining intelligibility Or the scripted lines not matching the next edit. FILMS that use lots of ad lib such as Wolf of Wall Street, usually require a fair bit of ADR, even if the location sound is A1. Director needs to address that during the shoot imo

is it best when upgrading to a 400 to purchase a TX or RX first ? or doesn't it really matter ?

You made the 200 series to good Larry, I still enjoy mine. I've got 195 that also works great. Lectro for ever. The best relationship a man can have.

If you get it serviced and want to sell it, send me a PM

John Barry in Melbourne australia do tune up and block moves, maybe email those guys as well for a qoute.

Has the build quality improved on presonus gear?

Gaff tape the logo, All good

I usually use it, even shitty DSLR mic on cut away shots.

Being a post guy, it's a nightmare trying to mix audio recorded by camera guys. Even if it is just one mic. They use shit gear for a start, if it's a boom they seem to mount it miles from the mouth. A cheap lav with huge pop filter in plan site is used.(looks and sounds awefull) They seem to use nasty wireless gear that has heaps of hiss.

I have been burnt too many times with being an earlier adopter of things, you end up paying a premium and being an un paid beta tester. Off topic, we just upgraded our EVS system at work and now none of our EVS news cutting edit suites work.. They have been down for 2 days.. The tech guys are pulling their hair out. Bleeding edge = headache

We may not have a real job, but we are more skilled and work harder than an over priced sales executive.

If you are working with an experienced team using Tc and slates, and a great post production work flow, I wouldn't bother sending a guide either.

haha , as i said earlier coming from the audio post world you would be surprised what gets through to my world.. I used to complain about extremely poor location sound very often..and used to beat down pretty heavy on the poor location sound mixer. now I know that if it comes to me like shite it t its because a low quality mixed down scratch has been used and the editor hasn't bothered to sync the location guys tracks. having dealt with 100's of editors for 20 years most really don't get audio or have an ear for it.. just my opinion.

sorry probably I am, but has been my experience in the post world.

I'm sure on film or high end drama work it's fine to use a Scratch track. You are working with people who are very knowledgeable and have a refined work flow . The rest of the industry however doesn't work like this.

You can sell your units in 600-700, to other countries such as Australia.

Some video editors and producers can't tell the difference and work in some pretty terrible edit suites and will still use the guide tracks. This will be a great way to really piss of the audio post guy, and not do a lot for your reputation in my opinion.

Here is my advice as I work on both sides of the fence, well 95% is audio post. This for mid to low budged projects. First contingincy plan. Make sure you send a high quality feed to the camera, Probably not a g3 or cheap Sony wireless, try using even an old lectro 190, Make friends with the camera op, research the camera's audio settings. If its DSLR, set the camera's audio to level 1 (0 is no audio coming through) this will give the best signal to noise ratio. For run and gun work, it should work OK. Next communication.. Tell the producer to make sure correct tracks from your recorder are used. get the details of the post people , video editor, audio post. The audio post guy will be the most annoyed if the DX is not up to scratch. Send them an email with instructions on how to deal with your recorded tracks, if it was TC or a dumb slate, wether they will need to use plural eyes. Send the files to them via we transfer or similar.