Sebben

I’m a DOP and I often need to shoot without a sound person for smaller documentary shoots. 
 

My solution for this is that I have a stereo microphone setup usually in a rycote wind shield mounted on a Monfrotto Nano stand. I send a wireless signal from microphones to the on camera receiver. 
 

Then I place the microphones as close to the action as possible and reposition it when I can. This is mainly for capturing ambient audio. For dialogue I put LAVs on the talent but then of course clothing rustle can begin to be an issue. If I’m in a smaller room then I set the microphones up on a boom stand. 
 

I never bother with an on camera microphone due to all the operating  handling noises, focus motors etc. 

On 12/22/2021 at 1:04 PM, Patrick Tresch said:

Greatings from Niger. Here a lot of wind and dust. But some of the most beautifull places I've seen.

 

 

CCM8, CCM41, Cinela Léo, Sonosax M2D2 on the Sony A7s3 camera

 

 

How do you attach the Sonosax to your camera rig?

I really like the Sonosax and I use it as my computer sound interface. Word of warning about that though. Set the screen to automatically turn off as mine now has screen burn in. 😭

I agree with you assessment to RME support forums, I just bought and interface from them, and they treat you like S#$t when you ask questions.

I just wish that sound devices had a 5.1 interface, unfortunately they don't so I will have to stick with RME it seems.

If the customer has to pay it, it becomes part of the price.

Exactly.

This Europe pricing thing is pretty interesting.

In Iceland the Lectro HM plugin transmitter costs $1386 (with dealer discount), when you add the VAT on top of that it becomes $1740. AKA. Really expensive.

Try unveil, I think it is pretty sweet.

http://www.zynaptiq.com/unveil/

The link spam is still coming up for me, but it is inconsistent. Sometimes it works, sometimes the urllinkshortner spam pops up.

Wow, we forget how crazy things were on Usenet 12 years ago! Fletcher from Mercenary Sound was always a riot.

 

Fletcher should learn to respect other people.

A video introduction.

Seems to be pretty good value, $749, for plugin transmitter, body back transmitter, and body pack receiver. Metal construction

I wonder what corners they are cutting. If someone sees these at NAB could they take a look. Wondering how it all compares to the Sennheiser G3 system.

Does anyone know anything else about these new units?

 

The UWP-D series components are small and lightweight, making them suitable for a range of field production needs. Three packages of UWP-D series are available:

• UWP-D11: Bodypack Transmitter, Portable Receiver
• UWP-D12: Handheld Microphone, Portable Receiver
• UWP-D16: Plug-on Transmitter, Bodypack Transmitter, Portable Receiver

The UWP-D series uses new hybrid digital processing technology to achieve high quality sound. This technology performs signal processing by digital commanding, with transmission handled by conventional analog FM modulation. The result is improved transient response performance between the transmitter and receiver, and clear sound reproduction.

The UWP-D components’ display is twice the size of previous UWP series, with a white background making information easier to see.

The new series employs wide frequency coverage, with a wide band of up to 72 MHz coverage available, so users can select from a broader range of operating frequencies.

UWP-D11/D12 — $799
UWP-D16 — $1,029

 

Thanks for the responses! I will check out the device.

The photo was taken at a theatre project in Edinburgh,Scotland called the salon project.

Hence the the nice attire.

http://www.untitledprojects.co.uk/projects/the-salon-project

The Bag is a billingham. 

Does anyone know what this portable boom holder is called? Or is it a custom piece?

28th of september is my birthday.

Feels a little strange adding a picture of myself into this epic thread...

Looking it but grumpy - From waiting in the cold I would suspect. 

Arg. I want a small 4 channel recorder mixer.

So what transmitter blocks do we have to buy now?

Congratulations.

Correct mostly. However, I am very much aware that it is not a plug and play solution and not expecting that.

So I would appreciate it if we can get past that and focus on techniques and tools that can make a difference in a nosey environment.

Meanwhile, I will continue to read and research, and see if any of it relevant to the situations that I am working in.

Thanks for your time.

No way. I will try all of the offered suggestions in the field when it makes sense for the situation.

I think that was totally unnecessary comment.

I get the impression that some people like hammering away at the inexperienced between gigs to pass the time.

How about this: Try to kill the problem by its root and move to a different, i.e. more quiet location if possible. If your productions are small crew shoots this should be an option more often than one would think.

This is what we do most often. And in this way reduce unwanted sounds as much as possible. I will start working with the off camera interview technique and move the microphones as close as I can to the talents mouth and see how things improve for us.

No need for jargon here... we're talking about very simple common sense layman's physics.

I am literally all ears.

Sure, without knowing the jargon it is hard to ask for specifics.

Buying a microphone based mostly on appearance is nutty, in my opinion. Having said that, I go out of my way to make the lavs as unobtrusive as possible, and have both black and white-colored lavs, opting to use whichever is least visible in any situation.

Please don´t take the appearance part to seriously. There are cases when visually it is nice to have microphone in the frame that conveys a certain mood. It is a form of prop that needs to be considered.

Regarding lavs, I will defiantly look into some more. And hopefully find some techniques for attaching them really quickly in an unobtrusive and comfortable way.

Maybe is better to ask them how they try to get the lav affect in noisy locations, without a lav, instead of which piece of gear will do the magic. They all have been there, they all have found great solutions and they all want to share them (their only reason to write every night in this forum) but nobody can't tell you that the solutions is buying this XYZ mic, because it's not.

Yes, this is essentially the question I am asking. I just assume that the recording starts with the microphone and then you build it up around that.

I am a little perplexed why some of the response is so vicious. If this is all so offensive then just pass this thread by.

Apart from that, this has been a very constructive discussion for me.

I quite liked it, especially considering the price. Sure, you can get better but for me it is at the point of expensive diminishing returns.

And just for the record I am not looking for approval

https://vimeo.com/43111661